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Bronze Head of Ephebos 

This beautiful bronze head of tie Ephebos (Gr«* youth attaming 
maiority) is the one selected by Gardiner as typical of the Greek ideal 
defined by the untranslatable word aidos, which includes the qualities o 
modesty, reverence, courage, courtesy and honor. 




EDUCATIONAL PLAY-BOOK SERIES 


FESTIVAL AND CIVIC PLAYS 

FROM GREEK AND ROMAN TALES 

BY 

MARI RUEF HOFER 

Author of Recreation Books for Schools and Playgrounds 



REVISED EDITION 

Out life*s a stage, a playground; learn to play 
And take naught too seriously; or bear its troubles. 

—Palladas 


BECKLEY-CARDY COMPANY 

CHICAGO 




Copyright, 1926, 1931, by 

BECKLEY-CARDY COMPANY 

ALL RIGHTS RESERVED 





PRINTED IN THE UNITED STATES OF AMERICA 


HW -7 1531 

©CIA 44672 


FOREWORD 


Greek myth, which began its career in the inspired 
song of the bards, still holds our interest and remains 
an unsurpassed medium for imaginative adventuring. 
It satisfies wonder hunger and youthful ideality; is 
true to nature and human experience, and fully stands 
the test of modern literalism. 

Centuries ago Strabo called attention to the geo¬ 
graphical turn of Homer. He said that the only diffi¬ 
culty lay in ‘‘ culling out the actual rocks and whirlpools 
from the Scylla and Charybdis of his poetry.” This 
view clears away much of the old obscurity without 
robbing us of the picturesque. 

Greek myth abounds in travel tales, featuring the 
astonishing and unexpected. Yet the most improbable 
experiences of the Argonauts are not staggering to our 
mechanical and project-minded age. The mystery of 
the Clashing Rocks is explained as icebergs; the winged 
feet of Mercury symbolizes electricity; the flight over 
the Hellespont is paralleled in aeronautics. A people 
able to excavate Troy buried seven layers deep hardly 
need myth with which to account for unaccountable 
heroes and events. 

The hero is preeminently a concept of the Greek 
mind. With the advent of the Occident came a new 
vision and we find the freeborn Greek hero engaged in 
a lively conflict with the old order of the Orient. The 
colonization of the shores of Asia by the Greeks also 
made of the iEgean waters a sanguinary battleground 
of East and West. 


6 


FESTIVAL AND CIVIC PLAYS 


There is no doubt that the integrity of the Greek tale 
suffered much in its journey down the ages. In the 
same way Roman history became unduly encrusted with 
militarism, to the exclusion of the wonderful social and 
civic virtues of the Latin people, who many centuries 
ago adventured in the heroics of our modern problems. 

The materials here assembled are an outgrowth of 
extensive research on the recreations of the Greeks and 
Romans, studies initiated at the University of Southern 
California. Thanks are due to many artists and teach¬ 
ers for stimulation in pursuit of detail; to students and 
social groups—East and West—who assisted in the 
presentation of plays and pageants; to undying Greek 
ideals of the drama, which are being reestablished in the 
stadia and theaters over our land. 

Mari Ruef Hofer 


CONTENTS 


PAGE 

Dramatization . 9 

FROM THE GREEK 

Greek Games and Festivals. 17 

Education, Sports and Athletics 

Mythological 

Jason and the Golden Fleece. 29 

Hero Play. Travel and Adventure 

Prometheus the Friend of Man... 39 

Myth of Creation 

The Labors of Heracles.. 47 

Hero Play. Strength, Obedience, Service 

The Quest of Perseus. 61 

Hero Play. Moral Courage and Sacrifice 

Theseus and the Minotaur. 71 

Hero Play. The Spirit of Adventurous Youth 

Atalanta’s Pace. 83 

Festival Play. Athletics and Games 

Arachne and Athene. 89 

Textile Industry. Reverence, Modesty 

Baucis and Philemon. 95 

Hospitality and Reverence 

Historical 

Damon and Pythias. 105 

Patriotism, Friendship, Fidelity 

Pericles and the Builders of Athens. 113 

Architecture, Arts and Artists 

7 














8 CONTENTS 

PAGE 

Story of Greek Law Makers. Two Short Assembly 


Plays 

Lycurgus the Law Maker. 128 

Solon the Legislator. 134 

Socrates the Philosopher. 139 

FROM THE ROMAN 

Roman Tradition. 149 

Mythological 

Pomona and Vertumnus. 151 

Pastoral Play 


Historical 

How Cincinnatus Saved Rome. 161 

Patriotism and Leadership 

Four Short Assembly Plays 

Clcelia the Roman Girl Scout. 173 

A Study in Honor 

The Choice of Coriolanus. 176 

A Study in Loyalty 

Camillns and the Schoolmaster. 181 

A Study in Justice 

Trajan and the Children of Rome. 185 

Social Conditions. First Public School 

Cornelia the Mother of the Gracchi. 189 

A Study in Home Training and Citizenship 

The Story of Roman Law. Three Short Assembly 
Plays 

King Tarquin and the Sibyl. 202 

Patria Potestas . 205 

The Justinian Code. 208 

Caractacus and the Romans. 213 

The Unconquerable Briton 

Appendix. 221 


















FESTIVAL AND CIVIC PLAYS 
FROM GREEK AND ROMAN TALES 
DRAMATIZATION 

Dramatization strips off verbiage and externals and 
reduces a story to its bones as it were. It lays clean 
the structural plot and sets episodes in right relation. 
The height of dramatic art may not be attained with 
school boys and girls, nor psychologically should it be. 
But good, honest foundations may be laid which obvi¬ 
ate stage mawkishness and sentimentality. 

As you spectacularize the episodes of these ancient 
tales into form, color and action, a climax of dragon, 
Minotaur, or other lurking monster always hovers in 
the offing, waiting to be physically overcome by the 
hero. Let children thrill honestly to primitive heroics 
and ethical enterprise, rather than to movie close-ups. 
School dramatics may easily be made to stand between 
the child and stage emotionalism. 

The psychology of youth, too, calls for the literal 
rather than the literary. Youth demands action instead 
of intensive word-picturing. Healthy youth neither 
seeks nor sees complexes or triangles. It strikes out 
for the main facts. In pageantized school dramatics, 
we touch wholesome art, untainted by the adult intro¬ 
spection that is always a menace to youth and virtue. 

SCHOOL PLAYS 

School dramatics hold a unique advantage in being 
supplementary to study subjects, not written for the 
9 


t 


10 


FESTIVAL AND CIVIC PLAYS 


theater. They are creative and experimental rather 
than formal. Their aim is to increase the personal 
power of the student instead of producing actors and 
playwrights. A by-product of the school play is the 
cultivation of taste for and intelligent enjoyment of 
the drama. All children for this reason should be 
given dramatic experience. 

The subjects of this play book have been chosen 
largely from school stories and history already in use, 
with additional information necessary to dramatization. 
Dramatics proceed readily from well digested class 
work. Familiarity with the text leaves pupils more 
time for the technic of production. Since “The Play’s 
the thing,” and has been accepted as constructive in 
educational systems, we must give it a sporting chance. 
Most of the material ranks above the fifth grade and 
carries on through Junior High School. 

PRESENTATION 

A word about diction. Time and subject as a rule 
decide the type of expression. Direct action demands 
forcible English. When the hero stalks, his words 
must also stalk. Satire goes upon stilts, while humor 
strolls along the ground. The semi-humorous character 
of Heracles may indulge in humorous speech. But 
modern vernacular would be as unbecoming to a Roman 
senator as to garb him in a top hat and a cutaway coat. 

We have inherited many fashions of English along 
with their periods. Webster covers Mediaeval, Classical 
and Victorian English. The Better Speech Movement 
is urging more careful and accurate use of the English 
language. This requirement is not entirely covered by 
the one-syllabled patois of today. Our children are 


DRAMATIZATION 


11 


familiar with period vocabularies of good literature. 
Greek and Latin roots are natural language stepping- 
stones. 

DRAMATIC SPEECH 

The present interest in reading should eliminate 
minor speech difficulties. For stage use direct vocal 
attack upon what you have to say and hoiv to say it, is 
most practical. Mere words will not entirely cover 
expression. “Ho, there, Boris!” is pure exclamation. 
Astonishment, indignation, remonstrance, argument, 
vindication, simple question and answer, explanation, 
narration, lie behind all exposition. 

The difficulties of growing voices are not insurmount¬ 
able. Sing-song, wrong inflection and emphasis, may 
be cured by entering more fully into the part. Growl¬ 
ing and shrilling voices are useful in the mob. Vowel- 
ization will open the throat and change flat or nasal 
voices into colorful and musical instruments. To be 
perfectly natural is not always good enough for public 
performance. To give our best to the audience, audi¬ 
bly and understandingly, should be our first aim. 

PLAY BUILDING 

As a matter of training, some part of the play may 
be turned over to class development. Condensation will 
help keep the plot clear. While w^e may increase the 
adventures of the Argonauts, we may not for a moment 
lose sight of their quest, nor of the inevitable climax 
of their triumphant return with the Golden Fleece. 
Passing over a few of the problems of play construction 
to the pupils insures their interest and cooperation. It 
also supplies educational values, which alone warrant 
the use of school time. The most we can do for the 


12 


FESTIVAL AND CIVIC PLAYS 


student is to formulate a few essentials in the vast 
world of make-believe. 

PREPARATION 

Since dramatics are becoming a regular feature of 
school life from the class play to the weekly assembly 
performance, a practical way must be found out of play- 
craft difficulties. The first step is to concentrate upon 
the play and eliminate all obstacles in its way. Too 
much detail, confusion, waste of time, much rehearsing, 
all indicate faulty method. A school play should move 
on with the ease of a daily assignment, like a lesson well 
learned, each part performed with class enthusiasm. 

DISTRIBUTION OF PARTS 

Principal parts are naturally assigned to the gifted 
ones and those best adapted to them. A wise teacher 
will bring an element of preference into the choice of 
the least important character. Pericles said ,‘ 1 All must 
help build Athens, from the potters to Phidias.” Make 
the players feel that theirs is an all-star play and that 
each one has an indispensable place to fill. It needs a 
deal of talent to play the fool’s part. No single lumi¬ 
nary can light the entire heavens. It takes many small 
stars to make the milky way. Concerted action calls 
for considerable talent, if it is only to yell together or 
move with the chief actor. 

THE FUNCTION OF THE GROUP 

Youth is gregarious and appears to best advantage 
in the mass. The effective posing of a group in a 
“speaking picture” is often more illuminating than 
many words. The group is the incipient Greek Chorus, 


DRAMATIZATION 


13 


which responded to every change of mood in the drama. 
The group must be instructed to hold poses and move 
with the moods of the leading players to belong to the 
play, instead of idly filling time and space. The group, 
as crowd or mob, is a vital part of the play. 

SCHOOL PLAY PRODUCTION 

The spectacular, pageantized play seems better 
adapted to school use than wordy drama, in which a few 
are overtrained, while the many sit and listen. The 
festival play expresses itself in massed color, form and 
motion, which support the central figures in their argu¬ 
ment. The Gracchi react to the friends and enemies 
about them. Theseus shines in the reflected light of 
the evil court of his father, as Perseus rises against the 
taunts of his uncle’s courtiers. 

PRACTICAL PLAYCRAFT 

The continuous action play, featured in recent stage 
art, should prove helpful to school play production. If 
curtains are used, this will require a curtain program, 
in charge of some competent helper, who watches the 
exits and entrances, playing the curtains with the move¬ 
ment of the play. With the groups all in line and 
timed as to appearance, the play moves on without 
long pauses, like chapter after chapter of a story book. 
Group assignment also means orderliness, each group 
doing its part, then making way for the next. With 
a good leader for each group, many rooms or an entire 
school may take part without confusion. One class or 
group handles the mob; anothers prepares the dances 
or games; another stands for the potters or beggars, as 
the subject demands. A leader is held responsible for 


14 


FESTIVAL AND CIVIC PLAYS 


the action rehearsals, costumes and appearance of each 
group. These are numbered in order of appearance. 

STAGE AND STAGING 

The usual square, boxed-in school stage requires 
tactful handling from the start. For the larger plays 
it can easily be built out with broad steps leading from 
the floor, for large numbers making below-stage en¬ 
trances and exits. This arrangement will be found 
especially happy in the case of festival and processional 
effects. The long, bare platform across the end of the 
assembly hall can readily be adapted to fit any need, 
with the assistance of standards, rests or screens. 
Stage settings make excellent project subjects, the me¬ 
chanics of which should be turned over to the boys and 
girls, who, with the help of teacher, janitor or interested 
parent, may accomplish wonders. Decide on your plan, 
collect materials and then carry on. The costumes 
should be handled in like manner by the girls. The 
properties should be given over to the creative spirits 
of the school. Greek and Roman detail are such well 
defined art subjects there should be no difficulty in se¬ 
curing borders and columns to supply proper atmos¬ 
phere. A group of artistically draped people, set in 
relation to a few broad steps, and a background of 
columns, will help pupils gain very good ideas of com¬ 
position. The approaches to many of the new high 
school buildings suggest excellent stadia for out-of- 
door performance. 

VALUES AND PROJECTS 

In play preparation general and specific values must 
be borne in mind and balanced against each other. 
Classified they might read: 


DRAMATIZATION 


15 


I. General values pertain to general project, occa¬ 
sion, choice of subject. 

Dramatic values to heavy, light, tragic, comic ele¬ 
ments and to effect of whole. 

Problems of staging, lighting, properties, costumes, 
color schemes come under projects. 

Use of materials on hand, conditions to be met, selec¬ 
tion of groups. 

Then supervision, stage management, scenery, cur¬ 
tains, stage setting. 

II. Specific values pertain to individual training, 
character parts, fitness. 

They include training in speech, expression, acting 
the part, dress and accessories. 

Also interpretation, relation of individual part to 
entire play. 

Personality, promptness, attention, reliability, talent, 
division of labor, group work, leadership, all belong in 
this listing. 

III. School Projects: Play production from study 
subjects; elements of a play; types of plays. 

Word study: choice of English; word derivation and 
comparison; Greek, Latin, Teuton and English roots.' 

Stage settings: designing, making, managing of 
properties and curtains. 

Costumes: materials, colors, designing, style. 

Geography: maps and globes; tracing journeys; old 
and new names. 

Civic ideals: comparison of Greek and Roman. 

Education: Greek physical training; Roman law and 
letters. 

Greek art: sculpture, architecture, drama, music, 
dancing. 



Dromos of Sparta — Restored by Hoffman 

16 
















































































GREEK GAMES AND FESTIVALS 

[800 B. C.-19— A. D.] 

Rhythm of runner—twinkling heel and ivory shoulder— 

Grant them feet so light to pass through life— 

For youth ever wakens the clear-toned gale of song. 

So sang Pindar, the poet of youth and games, many centuries ago. 
We can picture the ancient bard, in flowing robe and beard, as he 
sits in the seat of the judges, or at the banquet strikes his lyre in 
praise of the victors. 

For Greek youth ran first for the gods and for himself afterwards. 
The opening event of the early Olympiad was the foot race, when the 
runners encircled the track with burning torches, the swiftest lighting 
the altar fire at the goal; the prize, mayhap a parsley wreath, a chaplet 
of olive, a cloak; but to the champion a golden wreath of laurel or a 
statue, placed on the street of his native city. 

Nor were these honors easily won. The youth was obliged to pre¬ 
sent an unblemished record and a year’s special training, before he 
was allowed to enter the lists for the national festivals. To excel he 
must outskill the best in the land. The morale of Greek training is 
epitomized in the ancient oath of the Boy Scout of Sparta—an in¬ 
spiring pledge of loyalty to his arms, his comrades, his country, to 
humanity and to religion. 

Spartan girls were trained much the same as boys. They prac¬ 
ticed running, leaping, throwing the discus and javelin. A poet 
describes the games in which Spartan girls, “like colts with flowing 
manes, make the dust to fly about them.” The famous statue of the 
“Girl Runner” has left us this record. 

We cannot hope to restore the Golden Age of Play; but the value 
of the Greeks to us today consists not only of inspired statues, Parthe- 
nons and classical literature. The revival of the Marathon and the 
Olympic Games has given incentive to modern athletics. Since we owe 
the best of our physical training ideals to the Greeks, it seems only fair 
to invite them to appear on our program and let them speak for 
themselves. 


17 


GROUPS TAKING PART 


Kritias, Dyplus, Kindus, Thales, Spartan boys 
Gorgo and others, Spartan girls 
Hippias, Lucian, Aristes, Alpheus, Athenian boys 
Caius, Marcius, Titus, Hiero, Roman refugees 
Cyrus and Zetes, Persian Princes, hostages 
Spartan Boys, a group under their Irens 
Athenian Boys, a group under their Gymnastai 
Archons, Magistrates, Judges, Gymnasiarchus 
Heralds and Standard Bearers 
Narrator 


STAGING THE PLAY 

Present in connection with a gymnastic program. 

It may be used for indoor or outdoor performance. 

It is adapted to a bare gymnasium or assembly room. 

Seat the audience in a semicircle facing the players. 

The prelude should be given on a platform at one end of the room. 
Leave space between audience and platform for events. 

If given outdoors, back stage against building. 

Model setting after famous “Dromos of Sparta.” [See plate, 
page 16.] 

Help out background and sides with trees or shrubbery. 
Contestants wear belted, bordered tunics over gym suits. 

Boys wear shades of one color, green, scarlet, tan, blue. 

Spartan girl runners wear all shades of yellow, with green wreaths. 
Greek ball players wear a variety of soft rose, blue or violet tints. 
Archons, Magistrates, Gymnastai, colored robes. 

All wear sandals and headbands or wreaths. Study pictures. 
Physical training classes supply program of games, dances, events. 
Program should include stunts from decathlon, and easy pentathlon. 
Present events as far as practical in Greek manner. [See Olym¬ 
pian Program .] 

Spartan girls join in races with boys and win some of them. 

Greek ball players close program with dances. [See Program .] 
Judges and officials carry staves and hold dignified poses. 

18 


GREEK GAMES AND FESTIVALS 

SPEAKING PKELUDE TO GAMES 

The platform center front is reserved for the princi¬ 
pals . The officials sit on a raised bench at the back. 
On circling side benches sit the Irens and Gymnastai 
in charge of their groups . These stand about pic¬ 
turesquely, as the leaders do their parts. Heralds 
call the crowd to order. Narrator opens program. 

Narrator. Friends and patrons assembled to do honor 

to our exercises today: Many hundreds of years 

have passed since the Greeks played their games in 

the Valley of Olympia and on the Fields of Troy. 

The centuries have marked the years with great 

Olympian, Pythian, Isthmian and Nemean Festivals. 

Through these the Greeks trained their citizens to 

rugged valor and to victory over all their foes. Down 

through the ages the nations have followed in their 

footsteps. When, after 2,000 years, the Olympian 

Games were resumed, the 668th Olympiad carried 

on the unbroken record. It was a Greek who won the 

first foot race of the new series. Our Greek festival 

today evokes the spirit of ancient times. You see 

before you Spartan and Athenian youths and their 

Persian and Roman vassals. These will tell you how 

our games came to be. 

% 

[Boys step forward ] 

Kritias. Men of America: I, a son of Sparta, will tell 

• you of our country. The Laconians were at first but 
19 


20 


FESTIVAL AND CIVIC PLAYS 


a wandering tribe. Thrown upon unfruitful shores, 
they took hold as best they could. Few in number, 
they had to take recourse to arms, and to use the 
strategy of war. Our forefathers were brave and 
built no walls. Lycurgus, our great lawgiver, said, 
4 ‘ Our city is guarded by a wall of which each brick 
is a man.” Lycurgus in his wisdom also said that 
in order to grow men, we must teach the children. 
He had them instructed by nurses severe but just, 
that they might early learn to be indifferent to pain 
and discomfort. At the age of seven years we were 
sent to camps, to learn to take care of ourselves. The 
strongest among us became our leader, and we 
obeyed him in our games. Dyplus will now tell you 
what next we did. 

Dyplus. In charge of an older citizen, we slept on the 
reeds at night; we foraged for food in stream and 
forest; we played games and exercised between times; 
we ran about freely, doing our duties, growing hard 
and strong. At twelve years of age we were put 
under an Iren or leader, one of our own number. We 
were now given sterner tasks and punished if we 
failed. We contested with each other and learned to 
bear pain manfully. We had no money [no ice cream] 
nor luxuries. We learned music and verses about 
our heroes and our gods. In the evening we sang 
songs about the fire. We discussed the worth of men 
and gave keen answers. If we were dull or failed, 
our Iren must take the punishment for neglecting us. 
Hindus will now speak. 

Hindus. Thus we grew up in the ways of our fathers 
and under the laws of Lycurgus. Without fear we 
grew to the full stature of manhood. The Spartans 
had few gymnasiums. We exercised in the open. We 


GREEK GAMES AND FESTIVALS 


21 


competed not in armor, but with our free, fearless 
bodies, trained to obey and to endure. We brought 
the joy of music to our work and our men went to 
battle singing. I will recite you one of our battle 
songs: 

We fight for our children and our land, 

Our lives unheeding, we bravely die. 

Courage youths, together we stand, 

March without fear, nor turn to fly. 

Thales. Thus when you see us earnest in the practice 
of defense, you must not think us cruel or savage. If 
we are hurt in wrestling, it is because we lack skill. 
When we meet in combat, we show no pity even to 
‘our best friend; but if we are beaten, we must show 
no ill will. If we conquer we must be generous to the 
enemy. When we are full grown we may sit and eat 
black broth at the common table with the citizens. 
We then take the oath of citizenship and become 
guardians of the state. This ceremony ye shall wit¬ 
ness today. Gorgo will speak next. 

Gorgo. You will think it strange when I tell you that 
the Spartan girls were trained like the boys, though 
less severely. What our brothers did, we did. Like 
them, we were obliged to run, wrestle, throw quoits 
and javelins. We have even entered the races and 
often have taken the prizes away from them, as our 
victories in the Olympian records show. For, as 
Lycurgus says, we must make the girls able, and the 
women strong, if we wish to rear courageous men. 
In Sparta women were given a full course in phys¬ 
ical training that they might gain both physical 
health and hardihood of character to make them lit 


22 


FESTIVAL AND CIVIC PLAYS 


wives and mothers of soldiers. Onr training did 
not make us less womanly, but more beautiful. I now 
challenge some boy to compete with me in the races. 
[Cheers.] 

Narrator. Before we hear from the Athenians, let the 
Roman and the Persian lads speak. [ Others push 
Caius and Cyrus forward.] 

Caius [standing proudly with folded arms]. We Ro¬ 
mans leave all this [gesturing] to trained gladiators 
and prisoners. If one of them wishes to fight for his 
life, let him gain it. With us, only Roman citizens 
can be soldiers. All our young men go to the Campus 
Martius and there learn the tactics of war. As boys 
we ride in the Game of Troy, but we do not play* at 
war. When our country is threatened we serve and 
then return to our homes and farms. As boys, we 
go with our fathers about their affairs and to the 
Forum to hear the debates of the Senators. The 
Romans are law makers and would make a great city 
of Rome. I and my friends will show you a spear and 
shield exercise later in the program. 

Cyrus and Zetes come forward timidly. 

Cyrus. We Persian lads too have training, but not so 
rigorous as the Spartans. Our enemies are met 
at sea. Our people are great sailors. On land we 
rise early; march and run; learn to endure cold and 
heat, learn the use of bow and arrow, for Persians 
are famous archers. Our youths go hunting under 
the leadership of the King, and silently and stealthy 
as the sleek leopard, we follow our prey in the forest. 
Our motto is, “Ride well, aim well, and speak the 
truth. ’ ’ We contend among each other to gain courage 


GREEK GAMES AND FESTIVALS 


23 


and power. In school we learn justice by observing 
our elders when they decide cases of law for the 
people. We learn self-control; obedience to author¬ 
ity ; self-restraint in eating and drinking. When of 
age we help guard the city. As princes we train early 
to become leaders and rulers of men. I thank ye. 

Hippias. You have already heard from our Spartan 
neighbors. We Ionians are Hellenes born. We are 
not so intrepid as our cousins, but more enduring. 
With fewer enemies, we have had more leisure to 
acquire skill and cultivate beauty and art. We turn 
to warfare only when our country is in danger. But 
our training gives us keen wits as well as skill. At 
the age of seven we do not join a military company, 
but start to school at dawn with our pedagogues. 
There we write on tablets and learn to recite in song, 
the deeds of our heroes. We then play games, with 
such skill as we have, throwing the ball, running, 
leaping, jumping, vying with each other. At four¬ 
teen we are ready for the gymnasium and there we 
exercise the body vigorously in running, jumping, 
hurling the javelin or spear. We learn the value of 
exercise in the midday sun, the bath, rest and food. 
Then, in the afternoon, we practice music and join 
in the exercises of the dance. These arts lift our 
souls to the gods. At evening we return home with 
our pedagogues to our parents to tell the deeds of the 
day, to find justice and affection, and to sleep. Lucian 
will carry on the tale. 

Lucian. I will tell you of the sterner training of our 
young men in the Palaestra. No longer delicate, but 
with bodies accustomed to the elements—air, heat 
and cold, we now mold them to the highest skill. We 


24 


FESTIVAL AND CIVIC PLAYS 


use oil to soften and warm them; we brown them in 
the sun; we roll them in the dust, that we may grapple 
more firmly in wrestling. We bathe often and scrape 
our bodies with the strigil, then oil and rest them. 
We learn to box and join in the rough pancratian, 
that we may endure all hardships manfully. Aristes 
will tell you of our musical exercises. 

Aristes. It is our Plato who says, “Gymnastics for 
the body and music for the soul.’’ While the body 
should be trained for strength, the soul stands in need 
of grace and harmony. Like our Spartan cousins, all 
Athenian boys were taught to join in the choral 
dances of religious ceremonies. The Emmeleia, the 
sacred dance, is performed by a procession of boys 
before the altars of the gods. The Pyrrhic dances 
are performed with shield and spear, accompanied by 
flute. In the Gymnopsedic dances, each stern move¬ 
ment is marked by music, filling the soul wdth cheer¬ 
fulness and courage, so that the body may become 
elastic and buoyant. For this reason our men are 
skilled in leaping, running, evading,. and easily 
renew attack without fatigue. Music supplies inspi¬ 
ration with our physical training to make our bodies 
graceful, alert and balanced. Alphaeus will tell you 
of our festivals. 

Alph^us. Now that you know our plan of training, 
let me tell you of our national festivals. Not only 
for health and defense do we train our bodies, but 
for the gods. The Olympiad, of which you have 
spoken, is held in June once in four years. This 
festival calls all Greece together in brotherhood and 
peace. A truce is declared throughout the land, and 
all enmities are laid aside as we compete together in 


GREEK GAMES AND FESTIVALS 


25 


the races and events. Here Lados of the Spartans 
won the long race; Phayllus of Thrace the far jump; 
Hiero of Syracuse the chariot race. Here the free¬ 
born Athenian whirled the discus ninety paces, and 
the boy victor gained the pentathlon. The mighty 
poet Pindar sang our praises in verse, our brows 
were bound with laurel wreaths, and the names of 
victors were then inscribed upon statues in Athens. 
Friends, this is the splendid inheritance which 
Greece has left to you all. [Applause.] 

Narrator. You have heard but a half-told tale. Stu¬ 
dents, you may spend the rest of your lives studying 
and reading about what the Greeks knew and taught 
of physical training and not know the half. It would 
take two more lives to learn what the world has done 
since. The ceremony of the Scout Oath will take 
place next, in which will join the youth of all nation¬ 
alities. 

The Archons come to the front of the stage, while 
groups assemble below and around the steps. After 
some preliminary ceremony, such as stacking the 
trophies, flags or emblems of group or class, at the 
front of stage, an Archon speaks: 

Archox. After due examination of these candidates, 
we find them entitled, because of practice, training 
and service, to enter the Scout or Guardian class of 
the state. [ Actors repeat together the Athenian 
ephebic oath.] 

ATHENIAN EPHEBIC OATH 

I will not disgrace my sacred arms nor desert the comrade placed 
at my side. I fight for things sacred to my country and for the com¬ 
mon welfare, whether I am alone or with others. I will hand on my 


26 


FESTIVAL AND CIVIC PLAYS 


fatherland greater and better than I found it. I will honor the 
Magistrates and uphold the laws. I will honor the temples and the 
religion which my forefathers established. 

American Boy. As ye have heard, we owe much to the 
Golden Age of Greece, and to all the world for our 
ideals and models.* It is left for us to carry on and 
help the world forward to higher patriotism and 
nobler deeds. The Spartans taught us courage; the 
Athenians skill and beauty; the Romans fearlessness 
and law; the Persians gave us shrewdness and self- 
control. Our country learns from all countries, as 
it is made up of all countries. But we want to use 
our strength and what we know for better things 
than war. We propose to protect our country when 
she needs it, but we wish to keep her a refuge of 
peace for all in time of trouble. [Cheers.] And now 
we invite you to our games. 

OLYMPIAN PROGRAM 

The appended copy of an old Olympian Record may interest 
the pupils. The first half may be adapted for a school program. 

The games began June 21, the summer solstice, and 
continued four days. On the fifth day processions, sac¬ 
rifices and banquets were held in honor of the victors. 

* Compare sentiments and ideals in ephebic pledge with duties of 
citizenship inculcated in Boy Scout Oath today: “We will never 
bring disgrace to this our city, by any act of dishonesty or cowardice; 
we will fight for the ideals and sacred things of the city, both alone 
or with many. We will reverence and obey the city’s laws and do our 
best to incite a like respect and reverence in those about us who are 
prone to annul or set them at naught. We will strive unceasingly 
to quicken the public sense of civic duty. In all these ways, we will 
make this our beloved city not less but greater, better and more 
beautiful than it was before us.” 



GREEK GAMES AND FESTIVALS 


27 


Twenty-four events were divided between four days, 
eighteen for men and six for boys. The following is the 
plan for a festival program: 

1. Foot race—in early days with lighted torch, the 
victor lighting the altar fire. 

2. Double foot race—twice around the ring. 

3. The diaulos or long race, turning back at the 
goal and repeating. 

4. Wrestling. 

5. Long jump. 

6. Throwing discus or javelin. 

7. Pentathlon—trying out the victors of previous 
events—“the victor of victors” receiving the laurel 
wreath. 

The remaining events were boxing, chariot races for 
four horses, pancratium—boxing and wrestling, horse 
races, foot races and wrestling for boys, pentathlon 
for boys. The remainder were special events for men. 

Roman Shield Exercise 

Exercises can be adapted to Julius Fucis Gladiator 
March. Figures may be arranged from the following 
themes: 

1. Leap forward and present shield, pass. Repeat. 
[Two steps to measure.] 

2. Leap forward and clash shield, pass. Repeat. 
[Two steps to measure.] 

3. Leap forward with raised spears, pass. Repeat. 
[Two steps to measure.] 

4. Rapid tempo, parry and cross spears, turn, cover 
with shield. [Four steps to measure.] 

Other interesting figures may be invented. 


28 


FESTIVAL AND CIVIC PLAYS 


Greek Ball Game 


Six or eight girls toss, catch, bounce and throw balls 
to music in three-quarters time. 

Slide-step, 2 measures [arm swaying with ball], toss- 
catch, forward around circle. 

Same with bounce-catch, returning around circle. Fit 
to music used, 16 measures. 

Throw-catch with a partner, going around circle in 
same direction. 

Teacher may introduce other figures. Keep perfect 
time and make graceful gestures. 

For other dances or pantomimes, see Bibliography. 
An Atalanta’s Kace may be added to the program. 
[See picture of Atalanta’s Race, page 82.] 




JASON AND THE GOLDEN FLEECE 


STORY OF JASON 

The story of Jason is one of the earliest of the great travel tales 
of the Greeks, and antedates the heroes of Homer by centuries. As is 
the way with folk tales, these too gather into themselves the expe¬ 
rience of many. Consequently the Adventures of the Argonauts rep¬ 
resent the exploits of most of the ancient Greek heroes, who all joined 
in the famous trip of the Argo. 

The Search for the Golden Fleece came about in this way: iEson, 
the father of Jason, was the real king of Iolcus, but for some reason 
Pelias, his brother, took the kingdom away from him. .ZEson just 
managed to escape with his young son Jason, and an old servant 
carried the boy to that Schoolmaster of Princes, old Chiron. 

Knowing the story of his father, when Jason came of age, he 
determined to find .ZEson and help him regain his throne. Taking 
leave of Chiron and his friends, the youth set out for Iolcus. On 
the way he gained the friendship of Hera by carrying her over an 
angry stream, qnd it was here that he lost a sandal. 

Jason arrives in due time at Iolcus, and finds his uncle Pelias 
offering a sacrifice in the market-place. Pelias recognizes Jason at 
once as the youth of the one sandal who an oracle had predicted 
would succeed him on the throne. Pelias is curious and invites Jason 
to a banquet, at which Jason finds his father. 

When Jason boldly claims the kingdom, Pelias gives him the diffi¬ 
cult and deadly task of searching for the Golden Fleece. But Jason 
has many friends and they all join him in the adventure of the Argo. 
Pelias is much pleased with this, thinking no doubt that he will be 
safely rid of them all, by this one fell design. Here you may find out 
all about the Hellespont and Phryxus and how the Golden Ram came 
to be in Colchis. Ancient maps of Greece still show these famous 
names, and you can even trace this marvelous journey taken by the 
young Argonauts, along the shores of the Pontus, or Black Sea. 

29 


PEOPLE OF THE PLAY 


Jason, son of JEson 
JEson, father of Jason 
King Pelias, his uncle 
Market Man and Hucksters 
Courtiers and Guards 
Amycus, Bebrycian king 
King Phineus and Harpies 
Argus, captain of the Argo 
Tiphys, the steersman 
Castor and Pollux 


Telemon and Theseus 
Zetes and Calais 
Four sons of Phrixus 
JEetes, King of Colchis 
Medea, daughter of AEetes 
Talking Oak 
Dancers 
Bebrycian s 
Lynceus, the pilot 
Heracles and Orpheus 


Many others are mentioned as heroes of the Argo and the cast may 
be doubled. Choose armed men from crew of the Argo. 


STAGING THE PLAY 
A continuous play arranged in three sections. 

Front drop curtain and sea scene only required. 

The entire stage is used for the King’s banquet. 

Provide a raised platform for the King’s table. 

Do not disturb this scene, as other action takes place in front of it. 
The camouflaged ship should move before the middle curtain. 

A board of painted waves separates the ship from the foreground. 
The remaining space in front of the ship is used for land action. 
The ship remains stationary, sailing suggested by rocking. 

Sailors move behind sham side, which is waist high. 

Continuous action suggested by exits and entrances at sides. 

The Clashing' Rocks are painted on movable screens. 

These are manipulated by small boys from behind. 

Birds may be dropped from black threads fastened above. 

Boys should make and occupy dragon, oxen and other “horribles.” 
Mechanics of properties should be turned over to the boys. 
Costumes should be simple and in character. See Appendix. 
Characters should be chosen carefully to fit the parts. 

Wrestlers must be able to wrestle and dancers to dance. 

Kings should assume a kingly bearing and carry well their parts. 
Dancers may perform pleasant, rhythmic steps and scatter flowers. 
Music for feast may be pantomimed on old Greek pipes, lyres, etc. 


30 


JASON AND THE GOLDEN FLEECE 

PRELUDE 

Stage market-place in front of drop curtain. Booths 
and baskets may be brought in. Hucksters sit ivitli 
their produce, while people pass and repass. Jason 
comes on ivith one sandal, crosses the stage and then 
leans against a pillar at the side, watching the scene. 
King Pelias comes on with a feiv slaves, and looks 
sharply at Jason. 

Pelias. Who is this stranger ? 

Market Man. He came to the market this morning 
and has been waiting about all day. 

Jason [coming forward ]. I am Jason, the son of iEson. 
I am come to find my father. 

Pelias [stares in astonishment]. Your father? Where 
is your other sandal? 

Jason. I lost it crossing a swift stream. Where can I 
find my father? 

Pelias. Come tomorrow to the feast. Your father will 
be there. [Goes off. All disperse . Jason looks 
about him, then goes out left.] 

SCENE I 

The King's Banquet Hall 

Guests enter, heralded by trumpets. They lounge at 
tables, while eating and drinking, and applaud the 
Dancers as they finish. King Pelias sits with iEsoN 
and Jason on either side. Pretense at eating fruit 
and cakes. 


31 


32 


FESTIVAL AND CIVIC PLAYS 


Pelias [holds a golden goblet on high]. Guests, since 
it is to the unexpected return of our nephew Jason 
that we owe this happy hour, let us drink to him— 
Jason, the courageous Prince, who has returned to 
our court. [All shout, “ Jason! Jason! the Prince!”] 

Jason [rises and stands ]. I thank you, good uncle, 
for this splendid feast and for your good will toward 
me. I must now tell you the true reason for my visit 
to your court. I have come of age, and am here to 
demand for my father and myself this kingdom, 
which you have ruled so well. I am now strong and 
ready to help my father. 

Pelias [in great astonishment ]. Not so fast, good 
nephew, not so fast. Shall we not first see some evi¬ 
dence of your boasting, some trial of your strength, 
before giving you a country to rule ? Even now the 
oracle has brought me a message, from the shades of 
Phrixus, begging me to fetch back his remains along 
with the Golden Fleece of Colchis. That were a fit 
task for a Princeling who wishes to rule a kingdom! 

Courtiers. The Golden Fleece of Colchis! Jason will 
fetch it back! 

iEsoN [aside]. Do not trust him, Jason—be careful. 

Jason. I have heard of the Golden Fleece and the 
perils it will bring to him who goes in search of it. I 
wonder that one of these heroes here has not set sail 
for it before! [“Ha-ha-ha!” from the audience.] I 
fear not a task that will prove the mettle of a Prince. 
[^Eson looks at his son and shakes his head.] 

Pelias. The task is thine, oh Prince! We have been 
waiting for a fearless hero to undertake it. Oh, 
goodly youth, choose thy companions and we will 
build thee a ship, that thou mayest hasten to bring 


JASON AND THE GOLDEN FLEECE 


33 


the Golden Fleece. Then shalt thou reign over this 
land. Thy father and I will await your return. 
* Ha-Ha! We will wait—we will wait. [ All shout, 
1 ‘Jason, Jason, for the Golden Fleece.”] 

Jason. I fear not your mockery. The gods give me a 
fearless crew, trained by Chiron, and a ship built by 
Argus, steered by Tiphys and guarded by Heracles, 
and we shall gain the Golden Fleece and more, and 
return safely. Father mine, have no fear. [The ban¬ 
quet breaks up in confusion.'] 

SCENE II 

• Building the Argo 

As the middle curtain drops, the nose of a ship appears 
to the left of the stage. Argus, Tiphys and Lyn- 
ceus come on with tools and boards. Preserve bold 
and aggressive action throughout. 

Argus. With a prow made from a beam of the Talking 
Oak shalt thou steer, good Tiphys. It will warn 
thee when in danger. 

Lynceus. And with these long oars, made from trees 
of Mount Pelion, and these firm cedar timbers for 
sides, no waves can wash us out of our course. 

Tiphys. Here comes Jason, with his crew of mighty 
men. We have built a worthy ship for them. They 
have named it the Argo, after the builder. 

Jason [as all assemble about]. Heroes of the Quest, be¬ 
fore we go aboard our good ship Argo, we must 
choose us a leader. Let us select the greatest among 
us! Heracles! 

Heracles. Argonauts, only he who brought us to¬ 
gether for this great enterprise is fit to be our leader. 


34 


FESTIVAL AND CIVIC PLAYS 


Jason shall be captain of our voyage. [All cry, 
‘ 4 Jason, Jason! ’ ’] But let us draw lots for our seats 
and make sacrifice for the voyage. [A vase of incense 
is set on the prow. The men enter from the rear. 

Tiphys [ standing higher in the prow, sings out]. Now 
we will at it with oar and sails! [As the ship comes 
on, Bebrycians are seen to the left on shore.] 

Telemon. What strange shores are these? Yonder 
men are beckoning us. 

Jason. This is the country of the Bebrycians. Amycus 
the King challenges all strangers to wrestle with 
him. Woe to any weakling. 

Pollux. I will wrestle with him. [ Others: “And I— 
and I!”] But put us ashore. [They leap ashore and 
Pollux easily tliroivs Amycus. Amycus rubs himself 
and all reembark, laughing as Amycus limps off. The 
ship rolls on. Sailors chant: “Ho-la-ho.”] 

The blind King Phineus comes on from the right, pur¬ 
sued by black Harpies. [Small girls in blackbird 
dresses. They make shrill noises, flapping their 
wings and shaking their beaks.] 

Jason. See the poor old man! Let us rescue him. 
[They leap to land and drive off the birds. Jason 
supports Phineus to a rock and seats him.] What 
evil fate pursues you, my good man? Cannot we help 
you? 

Zetes and Callais [who have followed the birds, re¬ 
turning breathless]. The birds are gone. Now tell 
us your tale. 

Phineus. ’Tis the punishment of the gods. I am 
blind and weak with hunger, and have no strength to 
beat back the evil things. 


JASON AND THE GOLDEN FLEECE 


35 


Jason. Give him food and let him tell his tale. We sail 
for Colchis, in search of the Golden Fleece. [They 
give him food and comfort him, while he warns them 
of the dangers .] 

Phineus. You are on a dangerous journey, and it is 
better that I tell you some of the trouble you will 
meet. 

Jason. We shall be grateful for your help. 

Phineus. Do you see the Clashing Rocks yonder! 
There is but one way to pass through them. Take 
with you a dove. As they swing open, let it fly 
through. The same way must your ship go to escape 
being wrecked. 

Jason. Thank you, good friend, and farewell. We 
will profit by your advice. Have no more fear of the 
Harpies. The gods prosper you. Farewell. 

In this case the Rocks steer past the ship, maneuvered 
by the boys behind them. The ship rolls and the sail¬ 
ors cry out, making altogether an animated scene. 

Talking Oak [ cries out]. Steer away! From rocks 
and shoals on our way! Have a care! Turn your 
course from monster’s snare. 

The brazen birds of the Stymphalides may here drop 
on the Argonauts. These are quieted by Orpheus 
playing on his harp. 

Jason. And now, with our worst perils past, we are in 
the sea of Pontus and soon will come to the river 
Phasis, which leads to Colchis. There lies the Golden 
Fleece. 

Telemon. Would we not better hold our council now, 


36 


FESTIVAL AND CIVIC PLAYS 


how to enter the city and how to make known our 
quest ? [ They disappear inside the ship, while Tiphys 
steers on, the ship rocking and proceeding on its jour¬ 
ney. Hold scene for a time.] 

SCENE III 

The Shores of Colchis 

The four sons of Phrixus approach on the shore and 
make themselves knoivn. The Argonauts disembark, 
while the ship recedes. 

Jason. Ho-la! We are strangers. Can you help us 
find the city of Colchis? 

Sons of Phrixus. We are the sons of Phrixus. We 
can take you into the city. 

Jason. Well met! I am Jason, *your cousin. We 
come for your father’s hones and the Fleece. Will 
you not return with us ? First we must find the King. 

Sons of Phrixus. At last—at last we shall be free! 

Enter Medea, right. 

Medea. Who is the gallant youth in the scarlet cloak? 
[Steps back as -ZEtes appears.] 

^Eetes [rushing forward, speaking to the sons of 
Phrixus]. What strangers bring you here? Speak! 

Sons of Phrixus. We met them by the river, Sire. 
They begged us to bring them into the city. Let 
them speak for themselves. 

Jason. We have come upon a long and dangerous 
journey, good King ^Eetes. Thus far the gods have 
prospered us and brought us safely to your shores. 
We are in quest of the Golden Fleece, and to carry 
home the bones of Phrixus, to rest in his own coun¬ 
try. I am Jason, his nephew. 


JASON AND THE GOLDEN FLEECE 


37 


uEetes [suppressing his wrath]. Sons of strangers, liow 
am I to know that you are not robbers and tricksters ? 
As for the Golden Fleece, you are welcome to that 
if you can get it away from the dragon, which is 
more than I can do. 

Jason. Just show us the place and we will try for it. 
-ZEetes. There are conditions. You will first have to 
capture the Fire-breathing Oxen and sow the Drag¬ 
on’s Teeth. That is part of the bargain. 

Jason [angrily]. Dragon’s Teeth or Dragons! Let’s 
get them over with! [The King goes off and Jason 
turns and sees Medea.] 

Medea. Noble youth, I must warn you! Do you know 
that either of these tasks means certain death? 
Jason. I have no fear. We' must finish our quest. 
[She takes him to one side and instructs him. Ex¬ 
eunt both groups, Jason to the right, Medea to the 
left, as curtain drops.] 

FIRST PANTOMIME 

Jason appears shortly at the left, pushing his plow after the 
Fire-breathing Oxen and sowing the Dragon’s Teeth from his shield 
as he goes along. He leaves his plow in the wings on the right, and 
turning, he sees armed men spring from the furrows, painted on the 
other side of the wave strip and hiding the bodies. He downs a few 
of these and throws his shield among the rest, when they fall upon 
each other until all are overcome. Jason stands gazing at them in 
astonishment. The first curtain now falls to give the dead a chance 
to get themselves off. All should be done in the spirit of adventure. 

SECOND PANTOMIME 

As the curtain rises again, the nose of the ship is seen to the left 
in the darkness. Medea steals toward it from the farther side of the 
stage. She calls softly to Jason, who appears and descends over the 


38 


FESTIVAL AND CIVIC PLAYS 


side. Together they go quietly across the stage and behind the 
scenes to the right and emerge again as the next curtain rises to show 
the garden and the tree on which hangs the Golden Fleecce. The 
fiery-eyed dragon lies crouched beneath, the Fleece. Medea then pro¬ 
nounces the charm over the dragon; Jason secures the Golden Fleece; 
both escape the way they came. As the curtain falls, they come out 
on the ship’s side, enter and sail away victorious. Curtain. 

THIRD PANTOMIME 

The curtain rises on the banquet scene, with guests standing about. 
These begin to shout as Jason, bearing aloft the Golden Fleece on a 
staff, appears at the right with Medea at his side. Argonauts follow 
in groups, one carrying the dragon skin. HCson comes forward with 
arms extended; King Pelias shrinks back and finally disappears. 
Jason, JEson, Medea and the Sons of Phryxus, seat themselves on 
dais. Argonauts group themselves on either side. 

Jason. The honor of Iolcns is restored. The Golden 
Ram once more reigns over onr fortunes, and the bones 
of Phryxus have found rest in his native soil. (Turns 
to 2Eson) King of Iolcus! (Shouts of 4 4 Hail, Hail. 
Long live Jason and the Argonauts!” The scene may 
finish here.) 

Note. Only a skeleton of the Jason adventures is given in the play. 
Other episodes may be added, as players are capable of handling them. 
A short, clear story is better than too much amplification. 




PROMETHEUS THE FRIEND OF MAN 

MYTH OF CREATION 

The Greeks had many theories about the creation of the world, 
previous to our own accounts. According to one of their early myths, 
Prometheus (forethought) and Epimetheus (afterthought) were 
brothers descended from the Titan race, which flourished under the 
rule of Saturn. 

This was in prehistoric times when giants, Cyclopes, dragons and 
other monsters were supposed to rule the physical world. This leg¬ 
endary period undoubtedly corresponds to our Mesozoic or Reptilian 
Age. The Greeks believed that these creatures were the cause of 
earthquakes, volcanic eruptions and other convulsions of nature. 

The creation of animal life was ascribed to Epimetheus. To the 
animals and birds he gave generously the gifts of strength, swift¬ 
ness, endurance and courage. He provided them with wings to fly 
about, and legs to run with; claws, beaks and fangs with which to 
get food, and shells, pelts, feathers and thick skins to protect them. 

Prometheus then undertook to make a nobler creature, and formed 
man out of clay. He found that the best natural gifts had already 
been given out to the animals and birds. In place of these he made 
man walk upright and provided him with reason and quick wit. But 
man was still a helpless creature. In pity for his best beloved crea¬ 
tion, Prometheus ascended to heaven and lighted his torch on the sun. 

A quarrel among the gods and the downfall of Saturn had pre¬ 
viously robbed the earth of fire. Well Prometheus knew that if man 
were equipped with this tool, he would be able to win all things; 
without it, he must remain a forlorn wanderer upon the earth and 
finally perish. Prometheus called down upon himself the anger of 
the gods, and suffered torture for his generosity. This Greek legend 
has been used by many great writers, .ZEschylus, Milton, Shelley and 
others. Read Mrs. Browning’s and Longfellow’s more modern inter¬ 
pretations. 


39 


PEOPLE OF THE PLAY 


Prometheus, Epimetheus, two Titan brothers 
Men, gnomelike creatures—represented by children 
Women and Children, smaller children 
Strength, Force, Vulcan, giants 
Chorus of Nymphs, dancers 
Narrator, boy or girl in gown 


STAGING THE PLAY 

Only one setting required, occupying entire stage. 

Scenery of uncouth, cubistic rocks and upheaved earth. 
Coloring should be gray, dreary and cavelike. 

Gnomelike creatures crouch about, searching and digging. 
Some turn over rocks with signs of great effort and struggle. 
For fire imbed a large tin tub in asbestos or other fireproof. 
Artificial fire of harmless, effective sort may be used. 

Turn on bright lights while it is being used. 

Dress gnomes in brown sacking and other dingy stuffs. 
Choose large boys for leading parts for contrast in size. 


40 


PROMETHEUS THE FRIEND OF MAN 

Curtain opens on two brothers, large-muscled and 
strong, dressed in rude skin robes, leaning on stout 
staves. They stand together and discuss the situa¬ 
tion. 

Prometheus. What a pity that man, the noblest of 
all creatures, should be weakest and least able to 
help himself! The beasts you provided well with 
claws and strong bodies, with which to struggle for 
food. Worst of all, man has not even a good cover¬ 
ing with which to keep himself warm! The others 
are provided with fur, feathers, wool or hair, to pro¬ 
tect them from cold and storm, while man shivers 
in the blasts. I am truly sorry for him and meant 
him for a better fate. 

Epimetheus. I am sorry too. But there was nothing 
left for him, when his turn came. You did give him 
reason and an upright stature, which is some gain. 
He gazes upward and can see before him. But he 
is slow and needs a deal of help from the outside to 
carry him along. What can we do for him! I wish 
we could have kept fire for him. The world was 
happy indeed, while Saturn reigned. 

Prometheus. Well, there is nothing for it but to get 
him some more fire. Then he will be able to help 
himself. I will go ask Zeus. He knows I am the 
friend of man and he may grant my wish. [Goes off.] 

Epimetheus [looking gloomily around at the shiver¬ 
ing creatures]. It is the only way to save them. 
With the world cold and without heat, man is 
41 


42 


FESTIVAL AND CIVIC PLAYS 


wretched and helpless indeed. I hope Prometheus 
may get the fire, but I doubt it! 

Prometheus [returning after a time]. “Fire indeed/* 
says Zeus. “We have trouble enough l” He says 
that if men had fire, they would soon be as wise and 
strong as the gods! 

Epimetheus. I knew that Zeus would never consent. 
He fears both you and man. Some other way must 
be found to help him. 

Prometheus. Y r es—and that way must be found soon, 
or man will die. [ Plucking a tall reed at his side, he 
breaks it and finds it hollow.] I have it at last! See 
this hollow reed ? In this I can carry fire to the chil¬ 
dren of men. I will go to the far east, to the dwelling 
of the Sun and catch some of his flames, and bring 
them back to earth with me. Stay here until I return. 
[Goes off.] 

Epimetheus. Hasten then, and I will gather brush¬ 
wood for you in great heaps, with which to feed the 
flames when you bring them. [He gathers brush and 
the Gnomes help him. The brush may be placed over 
the artificial firing.] 

Prometheus [bounding in with a flaming torch.] Be¬ 
hold the return of the Golden Age! Now, you poor 
creatures, come and revive yourselves in the warmth 
of the sun! Come now, grow and expand into life, 
my children. The fire will save you. [The fire fans 
into flames and the Gnomes gather round to warm 
themselves. They laugh and dance and chatter, put¬ 
ting out their hands gleefully. They weave them¬ 
selves into a dance.] 

Prometheus [to Epimetheus]. Now they are happy 
and will save themselves, while we can go to other 


PROMETHEUS THE FRIEND OF MAN 


43 


work. But I fear the anger of Zeus when he sees 
this activity. For now man will not stop short even 
of forging chains for the gods themselves. [Exeunt 
both. As the Gnomes move around the fire, they be¬ 
gin to sing in shrill and untuneful chant or recita¬ 
tive .] 







f=H=f 


=N 


=i=h 

W=^d 

cJ 

.. 




- m ' 

Tj 

m 

— rr— 1| 


Fire, fire. Flames leap higher! Burn, bum. Upward turn. From the sun Thy gifts come. 


SONG 

Fire, fire, 

Flames leap higher! 
Burn, burn, 

Upward turn. 

From the sun 
Thy gifts come. 


OF FIRE 

Light, light, 
Away all fright. 
Heat, heat. 

Iron now beat. 
Glow on glow, 
Blow on blow. 


Warm, warm 
Away all harm. 
Give, give, 

That we may live. 
Run, run, run, 
Toward the sun. 


Fly, fly, 

Sparks on high. 
Flare, flare, 

To the glare 
Of the sun 
We have come. 


Leap, leap, 

The sun to greet. 
Fire, fire, 

Higher, higher. 
From the sun 
Thou hast come. 


While the circle is dancing, some of the Gnomes bring 
out bars of iron and put them into the flames; others 
beat out tools and implements; others begin to quarry 
and build. Women and Children bring more fuel. As 
the light glows brighter, all work and sing together. 
The curtain falls on a scene of great activity. 























44 


FESTIVAL AND CIVIC PLAYS 


The story of Prometheus is too significant to he 
closed in a light or trivial way. If no more action is 
desired, a Narrator may appear before the curtain, 
and recite the conclusion of the story. 

If a more significant ending is desired, Prometheus 
may he brought to the judgment of Zeus by Strength 
and Force, accompanied by Vulcan. The latter carries 
his forging tools and unwillingly forges Prometheus to 
the rock. 


NARRATOR’S CONCLUSION 

Narrator. Friends, it would seem from our play, 
that all is well that ends well for man, but not so for 
Prometheus. His kindly act, which meant life for man, 
meant death or worse to himself. Prometheus now 
suffers the wrath of Zeus, who, for reasons of his own, 
had denied fire to mortals. Vulcan is sent with 
Strength and Force to chain Prometheus to a high 
point of Mount Caucasus, to which a vulture descends 
daily, to prey upon his vitals. But Prometheus does 
not shrink from his punishment, though cruelly taunted 
by his tormentors. They now tell him that man, for 
whom he is enduring this torture, will he the last to 
help him in his trouble. They say to him: 

* Now triumph in thy insolence; now steal 
The glory of the gods and bear the gift 
To mortal man. Will he relieve thee now? 

Oceanus and the Nymphs of the sea come to condole 
with him. Many others try to help him. At last 
Hermes is sent to him as messenger from Zeus, to show 
him how useless it is for him to struggle against the 

* See Robert Potter ’s Prometheus in Chains. 


PROMETHEUS THE FRIEND OF MAN 


45 


gods. But Prometheus has taken his stand and an¬ 
swers : 

Thy councils, like the waves that dash against 
The rocks’ firm base, disquiet but do not move me. 

Think not that through fear of what Zeus 
May in his rage inflict, my firm disdain 
Shall e’er relent; e’er suffer my firm mind to 
Sink to softness; to fall prostrate; 

To stretch my supplicating hands, entreating 
My hated foe to free me from these chains. 

Far be that shame and cowardness from me. 

Prometheus, as you see, had made his choice ; had 
done a good deed arid, though suffering, would not 
desert the children of men. After many years the 
good Heracles, as you will remember, when returning 
from the Garden of Hesperides, saw a vulture hover¬ 
ing over the mountain, to which Prometheus was 
chained. Drawing the bow of Apollo upon it, he freed 
his friend from torment. So great was the power of 
Prometheus that, when he was relieved, his world fell 
into chaos with him. Thus, good friends, we bid you 
adieu, leaving you to think over the noble deed of 
Prometheus, the Friend of Man. 



A Greek Festival 


46 



























THE LABORS OF HERACLES 


LEGENDS OF HERACLES 


Heracles—Greek for Hercules—was one of the merriest and best 
loved of the old demigods, always ready to do his neighbor a good 
turn and repaid by the loyalty and admiration of all. Tradition 
names Thebes as the home of Heracles, who was a son of Zeus and 
Alcmene, and half-brother to Apollo. He was a wonder child from 
his birth and marvelous tales are traced to his very cradle. 

It is also related that he was early trained in the use of the bow, 
in boxing, wrestling, music and letters. Later he was supposed to 
be instructed by Chiron, the mythical Centaur schoolmaster, who 
had as his pupils many of the heroes of the Argo. Hawthorne 
explains this in a funny way. Other writers speak of Chiron as a 
wise herdsman, who taught his pupils much natural lore. 

According to myth, Heracles grew to great stature and power and 
was the most skillful as well as the most beautiful youth in all 
Greece. Not only did he excel in strength, but early in life he chose 
between vice and virtue, giving himself to the service of mankind, 
and performing great deeds in honor of the gods. 

His Labors show him to be generous and whole-hearted, consid¬ 
erate of even his enemies. His great fault was a hot and ungovern¬ 
able temper, which often got the better of him and caused him great 
suffering. But he always made up for these outbursts and held the 
love and respect of all. He started out with his friends, the Argo¬ 
nauts, but soon left them for adventures of his own. 

Besides his helpful acts, great healing powers were ascribed to 
Heracles. He was the friend and protector of man, a prototype of 
the Knight of the Middle Ages, or of our modern Boy Scout, and 
performed “his good deed daily” against all odds. He was the 
patron god of Greek games, and many statues were erected to him. 
The Nemean games were named after Heracles’ first Labor. 

47 


PEOPLE OF THE PLAY 


Heracles [Roman Hercules ] 
Priestess to Apollo at Delphi 
King Eurystheus, cousin of Heracles 
Amazon Queen and her Maids 
Hera the goddess 
Atlas the giant 

Men, Women, Children, Athletes 


STAGING THE PLAY 

A continuous action play staged with two curtains. 

Drop curtain rises on second curtain of field and trees. 

The second curtain should be set well back on stage. 

Rear stage is set for Eurystheus, Amazon and Festival scenes. 
Props such as hut, mule, altar, boulder, etc., pushed on as needed. 
Give management of curtain program to one reliable person. 
Suggest journeys by properly timed exits and entrances. 

A boy Heracles can be found in almost every school. 

Choose him for size, natural wit, humor, acting ability. 

Red hair is often included in the ensemble, or rent a wig. 

The Heracles part seems long, but humor makes easy acting. 
Villagers, Amazons, Games, etc., are assigned to special groups. 
Save time and labor by giving out parts to right people. 

Costumes may be inconspicuous, except for leading parts. 

Boys will enjoy making and impersonating the animals. 

Encourage informal and spontaneous acting. 


48 


THE LABORS OF HERACLES 

A Humorous Play for Boys 

SCENE I 

Heracles the Shepherd 

Drop curtain rises on Heracles as Greek shepherd, 
dressed in rough tunic, lying among his flocks in the 
foreground. 

Heracles [singing noisily]. 

Ho-ho-ho, flocks and fields are my delight, 
Ho-ho-ho, flowers and sunshine all bediglit. 

[Yawning.] Great singer I am! What a life—herd¬ 
ing sheep—when I should he using my big muscles 
for something worth while! [Idly picking a few 
flowers.] A son of Zeus— I —and coddling lambs! 
[Sits up and shakes his big fists.] You were made 
to do things. [Pounds the earth, making it fly in all 
directions.] A brave fellow and a warrior—I could 
beat them all at swords and boxing. Where is my 
sword? [Stands up and fumbles in his belt, but can¬ 
not find sword.] Well, I still have my good, strong 
legs to run and leap with! [Capers about, examin¬ 
ing his muscles.] I have good arms, too. I could 
squeeze a lion to death! Lazy legs—you could take 
me on many a frolic around the world. [Looks 
about.] I wonder what people are doing every¬ 
where? Here comes a man with a cart. [Calls.] 
Ho there! What a bag o’ bones of a mule! The 
49 


50 


FESTIVAL AND CIVIC PLAYS 


man seems to be about ready to fall to pieces, too! 
[A dilapidated stuffed mule is pushed on from left 
side of stage and leaned against wings.] 

Enter Man with shambling gait. 

Man. News! Bad news! No crops, no food, no hunt¬ 
ing, nothing to eat, starving! 

Heracles. All bad? That is bad! What’s wrong? 
Whose fault is it? 

Man [staggers]. The lion—the lion! He tramples 
our grain fields, sleeps in our vineyards, eats our 
flocks, frightens the people so they dare not go out 
to gather food. I got away with my mule, but can 
go no further, so we must starve. 

Heracles. Look out, there; you’ll fall! Where is he? 
Where is this lion ? I’ll kill him for you. 

Man. You kill the lion—you’re crazy! He is as big as 
two ordinary ones—an arrow will not cut through 
his hide. Besides, you have no weapon! 

Heracles. Are not my two arms enough? Besides, 
I’ll have a weapon. [Picks up a club and trims it.] 
Ho-ho! Here’s work to do! Come, my friend, we’ll 
give your lion a lesson. Ho-ho! Some one come 
and watch the sheep here; both of you get into the 
cart and I’ll give you a jolly ride while you show 
me the way. [Lifts both man and nude into the cart 
and trots off to the right with them, singing.] 

Ho-ho-ho! Now for the lion so strong! 

Ho-ho-ho—but it won’t be long. 

[A hut is pushed on from left and the party soon reap¬ 
pears. Heracles and the Man hide in the bushes 
near by. The lion (a boy in a skin) comes out roaring. 
Heracles strikes at him but does not kill him . 


THE LABORS OF HERACLES 


51 


Heracles then attacks the lion with bare arms and 
downs him. The boy inside the skin gets out (under 
cover) and Heracles throws the skin over his 
shoulder and knocks at the door of the hut. A 
Woman peeps out and shrieks: ‘‘The lion—the 
lion!”] 

Heracles [laughing]. No, my good woman, the lion is 
dead. This is only his skin. [All come running out, 
calling: “The lion is dead—the lion is dead! Her¬ 
acles has killed the lion. He is a hero.” They 
examine the skin. Women throw up their hands and 
exclaim: “Heracles has come. He has killed the 
lion.”] Ho-ho-ho! It was nothing. I am hungry, 
though. We walked a long way, your neighbor and 
I, to kill him. 

Man. Yes, yes. Get some food, good wife; let us 
make a feast. This is Heracles! See how strong 
he is; stronger than the lion. We will make him a 
cloak of the skin. Now let us eat and we will play 
after. [They bring out a loiv table with bread and 
jars of milk. Heracles seats himself.] 

Heracles. All gather round and eat without fear, for 
now you can get more. Laugh and be happy, for 
the lion is dead. Before I go I will help you straighten 
out your fields and get started again. [Eats and 
drinks. Children dance about, chanting: “The lion 
is dead, the lion is dead! Now we can play, now we 
can play.” The Men bring the lion’s skin and hang 
it about Heracles and give him a club made of a 
young tree. As he starts off, all shout: “Long live 
Heracles, the good Heracles! ’ ’ Heracles smiles and 
waves his club. The Children run after him. He 
sings, “Ho-ho-ho! Forth the lion must go—” as he 


52 


FESTIVAL AND CIVIC PLAYS 


goes off to the right.'] Hut is pushed off left. Cur¬ 
tain. 

SCENE II 
The Hydka 

An.altar of Apollo appears at the left rear. 

Enter Heracles in his lion skin. 

Heracles [comes to front stage]. Well, I have had a 
good visit with my mother, but this lazy life will 
never do. I had a fine fight with the lion and gained 
me a nice coat. What shall I do next? [He turns to 
the altar. A Priestess appears and stands over the 
fumes at rear. Heracles stands with arms uplifted 
and speaks .] God of light and good works, give me 
work to do, my brother, Apollo. 

Priestess [weaving about and speaking slowly, gazing 
upward]. Heracles, you are to go to the house of 
Eurystheus, and do whatever he asks of you. This 
is the will of Apollo. Go to thy toils. [Heracles 
sinks crestfallen before the altar; then rises slowly, 
comes fonvard and seats himself on the boulder to 
think.] 

Heracles. Be Eurystheus’ servant! A gay life for 
me! Eurystheus is mean. He will he ugly to me. 
I will not go! I will wander over the world and have 
some fun on my own account! I’ll meet people and 
help them. [Swings his club angrily a moment, then 
stops short.] I am a coward—afraid of hard words! 
Apollo knows best. He needs me. I will work for 
him. [Goes off singing.] Ho-ho-ho! More work 
for you, my arms, more work for you, my legs. 

Last curtain rises showing King Eurystheus, short, 
dark, crabbed, sitting on his throne, scowling. 


THE LABORS OF HERACLES 


53 


Enter Heracles, smiling and swinging his club. 

Heracles. Well, Cousin Eurystheus, what do you want 
me to do? Apollo has sent me to help you. 

Eurystheus [sneering]. Apollo has sent you to help 
me? You must be mad! Well, if you want work, go 
kill the Hydra—and don’t be long about it. It has 
only nine heads; be sure and dispatch every one of 
them. [He winks at an attendant as he points 
Heracles to the door.] 

Heracles. A Hydra with nine heads! That ’s an ugly 
thing—but I’ll do my best. [Exit.] 

Eurystheus. Ha-ha-ha! He’ll have a tine time kill¬ 
ing that thing. Ha-ha-ha! 

Second Curtain, with hut pushed on left. 
Discovered: Heracles knocking at door of hut. 

Heracles. Ho-ho! Are you all dead? A stranger to 
speak with you. 

Woman [opens crack in door cautiously]. Not all dead, 
but very likely to be! That dreadful Hydra has 
poisoned the water and the very air we breathe! It 
kills our cattle and any one who dares go out to work. 
We are dying of hunger and fear. 

Heracles. Where is it? Show me the den! I’ll make 
short work of that creature. 

Woman. It is out in the swamp. But you can’t kill 
that—it has nine heads and while you are killing 
one, it’ll eat you up with the others. It is frightful! 
You’d better come in and hide before it gets you. 

Heracles. Ho-ho! A head more or less will not 
matter. In the end I’ll get them all. Give me a 
drink of milk before I go. [Woman brings cup and 
he drinks.] Ah! That’s good for thirst. [Smacks 


54 


FESTIVAL AND CIVIC PLAYS 


his lips and twirls his club.] We’ll get the monster. 
Never fear. [Exit right.] Curtain. Hut is drawn 
off, and woods of first scene revealed. 

Reenter Heracles. He stumbles in exhausted and sinks 
on rock. He is spattered with mud. He stretches and 
yawns; head sinks on chest. 

Heracles. Well, that was harder than I thought it was 
going to be. It almost had me once. [ Raises his 
arm.] That’s a bad scratch. [ Pulls leaves and rubs 
scratch. Rubs his legs.] Fine supporters you are 
in time of trouble—going down in the mud just when 
I braced myself for a good stiff blow! Well, I got 
’em after a while—all nine of ’em. [Yawns and 
falls fast asleep. Shouting is heard off stage.] 

Enter a Woman, a crowd at her heels. 

Woman. That’s the man who came this morning. See! 
He’s caked with mud. His cloak is torn—he killed 
the Monster. Bring water, food, bathe his hands 
and feet, clean his cloak. 

Heracles [rubs eyes and stretches]. Ho-ho! What’s 
all the fuss about, eh? Oh, yes, the Hydra, to be 
sure—that was a tough one. The next one I’ll take 
on land. Too much work—ho-ho! What I need most 
now is food and sleep. [Yawns and stretches again.] 

Woman. You shall have all you want! The people 
are getting well. Bring some oil to bathe his 
wounds—and some clothes. He must be a god to 
be able to resist the poison. 

Heracles. I am Heracles—son of Zeus and servant of 
Apollo! [Rising.] Let us pour them a libation be¬ 
fore we eat. [Lifts eyes.] Father Zeus, you have 
helped us and we love you for it. Apollo, make this 


THE LABORS OF HERACLES 


55 


people well and happy and their land fruitful. 
[Pours a boivl of ivater.] 

People [shouting]. It is Heracles—Heracles, the 
strong one! He has helped us again. Long may he 
live! Heracles! Heracles! [Exeunt all.] 

SCENE III 

The Stag with the Golden Horns 

Heracles. Ho-ho-lio! How my bones do ache! One 
does not kill a nine-headed hydra every day! But 
it’s worth the pains. Uncle Eurystheus ought to be 
pleased with that task. [Walks along.] They were 
nice people, too, and glad enough to have me do it. 
I’ll enjoy a rest and a soft seat at court for a few 
days now. 

Curtain rises on Eurystheus ’ throne, where he is seated 
with food in front of him. He looks up crossly when 
knocking is heard. 

Eurystheus. What is that knocking! Heracles back 
from his nine heads! Wouldn’t have believed it [as 
servant announces]. Well, have him in. [As Her¬ 
acles enters.] What is it now! 

Heracles. Ho-lio! Good cousin, that was a hard task 
you gave me, but I got the heads, all nine of them. 
Couldn’t bring them, but they’re all dead, very dead. 
Hard work makes a man hungry, too. [Looks at 
table.] 

Eurystheus [indifferently]. Well, you’re back, are 
you! Glad you got through so quickly. Up in the 
North there is a Stag with Golden Horns. I need 
them right away. You may go after them at once and 
bring them. Hurry along—you’ll just about have 
time before the next task. [Turns to his food.] 


56 


FESTIVAL AND CIVIC PLAYS 


Heracles. Don’t you want to hear about the Hydra— 
and the folks, how glad they were? 

Eurystheus. Don’t bother me with that—hurry along 
to your work. 

Exit Heracles dejectedly to front of gtage as curtain 
falls behind him. 

Heracles. Is that the way to treat a fellow, Apollo? 
You gave me an ugly job. 

Forest Curtain comes down. After a time Heracles 
comes staggering on ivith Golden Horns on his shoul- 
ders. Sinks down under his load, drops club and bow. 

Heracles [feebly]. Ho-ho-ho! That was a long one. 
A year’s chase. But here are the horns, whatever 
he may want with them. I’ve half a mind to smash 
them. [Takes up club as if he would.] If it were 
not for my promise to Apollo. It was good fun at 
first, hut too long drawn out. Ou-ou-ouch—my legs ! 
Father Zeus, protect me, I must sleep. [Sinks to 
ground.] Curtain. 


SCENE IV 

Girdle of the Amazon Queen 

Heracles [striding on]. This promises to be an easy 
one. I must get the Queen’s girdle for old Eury’s 
daughter [prances jocularly about] to improve her 
looks. I expect she needs it. Ha-ha—Ho-ho—I shall 
be pleased to visit the Queen’s court. I’ll flatter her 
and smile on all the maids. I’ll show them tricks 
with my club and jump for them. They will like a 
little fun. This will be a jolly stunt. [Curtain rises 
on Queen’s garden. Her Maids are practicing arch- 


THE LABORS OF HERACLES 


57 


ery and javelin throwing. One sees Heracles and 
runs to the Queen.] 

Maid. There is a giant at the gate, who would practice 
with us and teach us. 

Queen. Let him in. It will do you good to practice 
with one stronger than yourselves. [Develop such 
games and stunts as you please. The Maids are de¬ 
lighted with Heracles. They finally bring him to the 
Queen, who bids him sit and rest, ivhile they bring 
him fruit. The Maids go to play, and he entertains 
the Queen with his exploits. She asks him what he 
wishes in return for teaching the girls. He admires 
her girdle and says he would like that, if she is willing 
to give it to him. She unclasps girdle and hands it to 
him. Just as he is getting away, Hera rushes among 
the Maids and denounces him.] 

Hera. He is a traitor! He is a traitor! He wishes to 
carry away your Queen. Seize him—seize him! 
[Maids rush after, Heracles escapes.] First Cur¬ 
tain. 

SCENE V 

Augean Stables—Giant Geryon 

Heracles. Well—well—well! Just one little thing 
after another. Should think that old Eury would 
get fed up after a while. I didn’t mind those girls— 
that was rather fun—and the Augean Stables—that 
was no trick at all. My wits and the river did that. 
That was clever. But this three-headed giant Ger¬ 
yon! Hum-hum! He’ll be hard—better rush him 
and get him off my mind. [Goes off and soon a great 
roaring and other noises are heard. Throws three 
heads on the stage.] There! He thought he would 


58 


FESTIVAL AND CIVIC PLAYS 


frighten me with noise, but he found his master. I 
tied him up solid in one body and sent him back to old 
Eury, by some slaves. Let them take the scoldings. 
And now for a swift journey to the far west for the 
Golden Apples of the Hesperides. [ Starts walking 
in and out the wings.] My, but it’s hot! [Takes off 
his lion skin.] Look here, Apollo, I may be your 
servant, but this is too much. Can’t you cover me 
with a cloud? You’ll fry me to a cinder, and then 
who’ll do your tasks for you? I say, there [ shaking 
his fist up to the heavens] this may be fun for you, 
but it’s death to me! This Africa is no iceberg. I 
say, stop it! [Shoots an arrow toward the sun—cloud 
obscures sun. Reflector turned off.] U-u-u-uh! 
That’s better. [Picks up his bow and wipes his 
brow.] Good brother Apollo, I will be patient. [Bows 
his head and goes off.] First Curtain. 

SCENE VI 

The Golden Apples of the Hesperides 

Forest scene again. 

Heracles. Well, here I am at last. I hope he isn’t out, 
after all my trouble. Atlas, are you at home? [Cur¬ 
tain rises on Atlas, scantily clad , with a huge globe 
on his shoulders. Heracles laughs heartily.] Well, 
I should say you w T ere at home, fastened to the place, 
as it were! 

Atlas [crossly]. What do you want? Haven’t I 
enough to bear without any meddlers coming round ? 

Heracles [sympathetically]. I should say you have, 
old man, I call that a pretty heavy load. We ’ll strike 
a bargain! I have been sent for the Golden Apples 


THE LABORS OF HERACLES 


59 


in charge of yonr daughters. But I have already 
fought so many obstacles, I’d like a standing-still 
job. Here you are, with your feet asleep and grown 
into the earth with weariness. Let’s change jobs. 
I’ll hold up that ball while you go stretch your legs 
and neck a bit. Doesn’t that sound attractive to you? 
There, there! Steady now! Careful that you don’t 
shake the stars down! Hum-m-m! That’s some 
weight. Now, you hurry along and get the apples. 
You know where they are and I can endure it that 
long. [Atlas goes off rubbing his neck , grinning.'] 
Say, there are other tasks besides mine, I guess! I 
wouldn’t like to stand under this one too long. 
[Shifts uneasily as time goes on,] 

Atlas [reenters with apples]. Well, well! Here are the 
apples! You seem to be doing nicely. Don’t you 
think that I would better carry these to Eurystheus 
myself? 

Heracles. I-I-I—don’t know. S’pose you haven’t seen 
him in a long while. I-I’d have to get a fresh start. 
Can’t you spell me a bit, till I get the wrinkle out of 
my coat? [Shifts back the globe to Atlas, picks up 
the apples and makes off.] 

Atlas. Come back here! Come back and keep your 
word! That’s not fair! Comeback! 

Heracles. Not so, old man, not so. I spelled you, that 
was the bargain. That’s your job—not mine. [Gets 
off.] First curtain. 

Heracles [doubling with laughter]. Ho-ho-ho. Ha- 
ha-ha! That was a close call for a permanent job. 
I never will quite get that crick out of my neck. 
[Twists his head.] Well, I think I have had work 
enough for a while. But let me get home again out 
of this hot country and I’ll take it easy for a spell. 


60 


FESTIVAL AND CIVIC PLAYS 


What is that vulture hovering over that mountain 
yonder for? I have seen him before. [ Draws his 
boiv.] There! That may puncture his ambitions 
somewhat. Well, here’s for home and a rest. [Exit.] 

Entire stage is prepared for a festival. Assemble all 
the characters behind the curtain. 

Enter Heracles from right. All rush boisterously for¬ 
ward. 

Heracles. Well, well, friends all, what is this—a 
party? Games and a banquet for your uncle. I’d 
like nothing better. 

Man. We have proclaimed a feast in your honor, and 
our young men will wrestle and run and jump for the 
victor of the day. [They place Heracles on the 
throne of Eurystheus.] This is our real King and 
helper and for one day you shall have royal sway. 
[Girls crown him with flowers and bring him food; 
boys perform stunts of all hinds. Heracles cheers 
and gives prizes, and all is noisy, joyous confusion.] 
Heracles [standing]. Thanks, my friends all. I was 
aching to see some real sport once again. You are 
heroes all. And now I must go home to my family, 
which I have not seen for many years. There are 
many more labors to be performed and some of these 
young heroes should get ready to do them. Fare¬ 
well. Think kindly of Heracles. Ho-ho-ho! ’tis a 
merry life we lead! Ho-ho-ho! [Steps down and 
exit, while all call and shout: “Long live Heracles 
—as long as his deeds!”] 

Note. Many more episodes might be added. Those given are the 
most graphic and adaptable to dramatization. A happy ending to a 
life of service and ideals seems best. 


THE QUEST OF PERSEUS 


STORY OF PERSEUS 


Among the most interesting and ancient hero stories told of the 
demigods are the adventures of Perseus. Because of the jealousy of 
his grandfather Acrisius, he and his mother Danae are thrown 
adrift in a chest upon the sea. Dictys, uncle of Perseus, finds the 
chest on the shore and rescues and protects them. Dictys is suffering 
the same treatment from his brother Polydectes, who is reigning in 
his stead—the famous “wicked uncle” theme. 

There are many differing stories about Polydectes, who, though he 
was kind to Perseus, evidently did not much relish having the lad 
about. Polydectes gave the youth a good education at court, but 
teased and trapped him into some rash boasting. He finally sent 
Perseus after the Medusa head, which, in an excited moment, Perseus 
had said he could secure for the King. 

Perseus, a warm hearted, thoughtful lad, was knight errant of his 
mother and tried to protect her from unple’asant experiences. He 
very much regretted his foolish speech, which left her alone and at the 
mercy of the wicked King, while he was away on his dangerous quest. 

But Perseus had good friends among the gods. The fleet-footed 
Hermes advised him and Pallas Athene gave him much wisdom. Be¬ 
tween them he gained the information needed to make his quest suc¬ 
cessful. He returned with the dreadful trophy of the Medusa head 
just in time to save his mother. 

Many a gallant deed he performed on the side, with the strange 
helpers provided by the gods. Among these was the freeing of 
Andromeda, whom he brings home to his mother. He restores 
Dictys, the good uncle, to the throne, and all “live happily ever after.” 
You can trace Perseus’ journeys from Argolis to Africa. 

61 


PEOPLE OF THE PLAY 


Danae and the lad Perseus 
Perseus, the youth 
Dictys, brother of the King 
Polydectes, the King 
Hermes, god 
Three Gr^e^e, sisters 
Three Nymphs 
Three Gorgons and Medusa 
Andromeda and the Monster 
Courtiers and Princes 


STAGING THE PLAY 

A continuous action play arranged in three settings. 

Shore, wood and palace interior as in Jason and Theseus plays. 

Set banquet scene back stage, leaving room for other scenes. 

Set cave of Graeae and Gorgons’ lair in wings for forest scene. 

Set Andromeda’s rock’s in wing of seashore scene. 

Continuous action may be secured by a careful curtain program. 
Mark time exits and entrances with curtain, not too fast or slow. 
Choose a thoughtful yet vigorous personality for Perseus. 
Properties and dress should be carefully copied from Greek models. 
Characters must speak and pose well. Make pictures of the scenes. 
Perseus has been the hero of many great paintings. 

Costumes may be colorful and of many contrasts. 

See that Perseus appears in cloak and travel hat. 


62 


THE QUEST OF PERSEUS 

PRELUDE 

Danae and the lad Perseus are discovered by Dictys 
in a chest stranded on the seashore. Dictys runs on 
and examines it. 

Dictys. What a strange looking chest! It must have 
washed in from some wreck. [Raps on it.] There 
may be treasure in it. [ Hears a sound.] Or some¬ 
thing living. [Takes a bar of wood lying by and 
pries it open. Danae, with her babe, steps out.] 
What miracle is this! [Danae tells her story.] 

Danae. Do not fear! I am most unfortunate. Acri- 
sius, King of Argos, my father, afraid of a prophecy 
that my son would reign in his place, put us both 
adrift in this chest on the sea. Take pity on us—we 
wish no harm. 

Dictys. I myself suffer the same fate, since my brother, 
Polydectes the King, holds the same fear. In conse¬ 
quence I am but a poor shepherd. I live by my flocks, 
but am contented withal. Come with me, I will 
hide you in my hut, where you will be quite safe. 
Here you can care for your son until he is old enough 
to help with the sheep. [Dictys takes the boy by the 
hand. They go off to left.] 

SCENE I 

Opens on the second or woodland curtain, where Per¬ 
seus, now a full grown lad of sixteen, is walking up 
and down with his mother, discussing the future, 

63 


64 


FESTIVAL AND CIVIC PLAYS 


Perseus. The King is kind, but I trust him not. He 
asks always of you and says we must both come and 
live in the palace. He has given me a Prince’s train¬ 
ing and now he says that I must go and get the head 
of Medusa, which one day he led me to boast that I 
was mighty enough to bring him. Woe is me! This 
is sure death. 

Danae. My son, you must not go on that terrible er¬ 
rand to please anyone, no matter what my fate may 
be. He shall not send you! 

Perseus. But today he mocked me before the whole 
court, saying, “Ah! Here is our hero. When do you 
start for Medusa’s head!” I hotly answered, “To¬ 
morrow, if need be!” And he commanded, “Then 
get ready at once. We must not delay this great 
deed.” Now that I am strong enough to protect you, 
I must go on this deadly quest. 

Danae. Go then, Perseus. Pray to the gods—they will 
help you. It was promised that you should perform 
great deeds. I will hasten to the temple and hide 
myself there until your return. [They part affec¬ 
tionately. Perseus throws his arms up and prays 
to the gods. The shining Hermes appears .] 

Hermes. Perseus, if you have the courage to strive, 
you will find the way to win. Take this sickle-sword. 
With it you shall slay the Gorgon. But take heed 
that you do not look upon her face, or you will be 
turned to stone. 

Perseus. But how can I do this thing, being but a hu¬ 
man! I have no wings to fly, nor power to make 
myself invisible. Who will help me! 

Hermes. Go to the Grseae—the Gray Ones—the ancient 
daughters of Phorcys. They have but one tooth and 


THE QUEST OF PERSEUS 


65 


one eye between them. Win from them the secret 
where dwell the Nymphs, who possess the shoes of 
flight, the invisible cap and the magic pouch. Tell 
them Hermes sent you, and use your wits. 

Perseus. Wait—wait! What shall I do first? [As 
Hermes disappears.'] 

Hermes. Begin your Quest—the gods will not fail you, 
if you have courage. Curtain. 

SCENE II 

Perseus arrives at the cave of the GrjE^, where one sits 
munching acorns with the one tooth, while another 
is looking with the eye into the hack of the cave. The 
third sister is polishing a copper shield. All are 
covered with long hair of gray flax, and gray cloaks. 
Perseus stands at the side looking in. 

F^rst Sister. Sister, turn your eye this way. I hear 
something stirring. 

Second Sister [ turning to the front]. Sister, I see 
nothing. Give me th£ tooth and you watch while I 
eat my acorns. [Perseus darts in and takes the eye 
and tooth while they are exchanging them.] 

Both Gr^e [together]. Where is the tooth, where is 
the eye? 

Perseus. Ancient daughters of Phorcys, I have not 
come to rob you, but to ask my way to the Nymphs, 
who guard the cap of darkness, the shoes of flight 
and the magic pouch. 

Both Gr^e^. A mortal—a mortal! We will not tell 
you! 

Perseus. Then I will keep the eye and the tooth. But 
I will give them to the one who will tell. 


66 


FESTIVAL AND CIVIC PLAYS 


GrRiE/E [groping about blindly]. We will tell, we will 
tell! But give us the tooth and the eye. [Perseus 
places the eye and the tooth in the nearest hand of 
each, but holds their wrists firmly with his strong 
hands until they tell.] Beyond Atlas, lies the Valley 
of the Nymphs. [He drops their hands and while 
they rub them and mumble he escapes, taking icith 
him the copper shield lying in the entrance.] 

Third Sister. He has taken my shield —my shield! 
Curtain. 

SCENE III 

Perseus enters upon the Valley of The Nymphs, who 
are afraid and run from him. He throws himself 
down on the ground and the youngest one returns. 
Others come back later. 

First Nymph. Why have you come here, and what is 
your trouble! How did you find your way to our 
dwelling place! 

Perseus. The god Hermes seht me and gave me this 
sword. I am commanded to kill the Gorgon, and I 
need the shoes of flight, the cap of darkness and the 
magic pouch. If you do not get them for me, I shall 
surely die. 

Second Nymph. Tell us your story, that we may know 
that you are worthy. 

Perseus. Before I was born, a prophecy was told to 
my grandfather Acrisius that I should rule in his 
place. He set my mother Danee and myself adrift in 
a chest. We were rescued by Dictys, the brother of 
Polydectes the King. The King has sent me upon 
this quest that I might be destroyed. He fears me 


THE QUEST OF PERSEUS 


67 


for my mother’s sake, who serves in a temple to 
escape him. If I bring not the Gorgon’s head to the 
feast, I must hang my head for shame. As for my 
mother, I know not what fate is in store for her. 
[Perseus weeps.] 

First Nymph. We believe that you speak truthfully 
and that your need is great. But we are keepers of 
the magic treasures, and any hour they may be 
needed by others. Will you swear that when you 
have slain the Gorgon, you will return them to us f 

Perseus. That I will, with haste. By this sickle-sword, 
you may know that I speak the truth. It is the sword 
of Hermes. 

Third Nymph. Then if. you will stay here until my 
return, I will bring the treasures. 

Perseus polishes his shield and looks into it, as into a 
glass, while waiting The Nymphs' return, one bring¬ 
ing the cap of dog-skin, another the ivinged shoes, 
and the last one the magic pouch. 

First Nymph. May this cap of darkness shield thee 
from all thine enemies. 

Second Nymph. May these winged shoes lift thee out 
of all danger. 

Third Nymph. May this magic pouch hide thee safely 
from the power of Medusa. Curtain. 

SCENE IV 

This is largely in pantomime. The stage is arranged as 
the lair of The Gorgons and three of them are discov¬ 
ered asleep. The fourth sits on a rock at the right, 
with a reptile in her hands, to which she is uttering 
hoarse sounds. Perseus swoops down over her, cut- 


68 


FESTIVAL AND CIVIC PLAYS 


ting off the false head attached. The body falls over, 
as he stands in the middle of the stage with the writh¬ 
ing head, protecting his face with the copper shield. 
Perseus flees. The other Gorgons, aivakening, pur¬ 
sue him, as the curtain falls. The episode of An¬ 
dromeda may be omitted, the banquet scene following 
immediately upon the Medusa incident. 

SCENE V 

Perseus enters from the right with the wallet over his 
shoulder. He sees the figure of Andromeda chained 
to the rock. She reaches out her arms; he drops his 
bag and leaps upon the rock by her side. The Sea 
Monster comes on with wide open mouth. Hiding 
his face with the shield, Perseus flings his sickle- 
sword and cuts off the Monster's head. The Mon¬ 
ster writhes his last. Perseus frees Andromeda, 
who falls at his feet and tells her story. 

Andromeda. It is not for fault of my own that I am 
in this plight, oh Prince! This is punishment for my 
mother's folly, who boasted that she was fairer than 
the Nymphs of the Sea. To save our country from 
the Monster, must I be sacrificed. [ Weeps .] 

Perseus. Then I have saved not only you but your 
country, by the death of this Monster. Come with 
me. I am returning to my mother, the lovely Danae. 
She will care for you. But we must first haste to the 
Valley of the Nymphs and return to them these magic 
treasures, which helped me save your life. Curtain. 

SCENE VI 

Perseus, accompanied by Andromeda, is on the way to 
the palace of the King, when, passing the temple, he 


THE QUEST OF PERSEUS 


69 


is arrested by a voice crying out: “Oh ye gods, hear 
me! Walled up in a tower, I am left to die of hunger. 
My son Perseus, my hero! Return soon or I shall 
surely perish! ’ ’ 

Perseus [calls]. Mother, I am here! I will rescue you. 
Be patient till I come. [Reappears with Danae.] 

Curtain is drawn as Perseus goes out at one side and 
reveals the banquet scene of the King's palace. The 
King is seated on a dais and guests are assembled 
around tables. Perseus, Danae and Andromeda en¬ 
ter to trumpet sounds. The King observes Perseus 
and calls out mockingly to his Lords and Princes sur¬ 
rounding him. 

Polydectes. Whom have we here ? Perseus, the lost 
hero! Step forward, oh youth* with the empty hands. 
Where is thy gift? 

Perseus. I have not come empty-handed, oh King, nor 
without a gift for the feast. All friends of Perseus, 
hide your eyes, nor gaze on the sight worthy only the 
eyes of Kings and Princes. 

Polydectes. Step forward, my Princeling, and do not 
try to frighten us with boastful words. Step for¬ 
ward and show us thy royal gift. 

Perseus. That will I, King Polydectes, and take thou 
thy last look upon the earth. [He pushes back his 
mother and the others who are with him. These hide 
their faces while he flashes the ugly serpent head of 
Medusa before the eyes of the King and his Cour¬ 
tiers. The latter begin to stiffen , some still mock¬ 
ing and smiling , while others turn and half hide their 
faces. The statues of Niobe and of Laocoon may 
serve as models for expression.] 


70 


FESTIVAL AND CIVIC PLAYS 


Pekseus. And now, dear mother, we will seek the good 
shepherd Dictys and let him finish his life in a reign 
of peace. I must also return the sickle-sword to 
Hermes; and the Medusa head must be set upon 
Athene’s shield, where it may forever guard us 
against the deadly serpents of lies and deceit. [All 
exeunt. \ 

Note. While the story of Perseus is one of the oldest of the 
hero tales, in sentiment it accords with the ideals that inspired many 
of the traditions treasured by the Greeks. The killing of monsters 
in fact takes Perseus into the realm of mythology. These mythical 
monsters that seemed so real to the minds of primitive peoples later 
were recognized as symbols of moral and ethical evils, the destruc¬ 
tion of which required no less doughty heroism than was needed 
to slay the Minotaur or the giant Geryon. The myth doubtless grew 
out of superstitions concerning elements that could not be defined 
satisfactorily to the untutored faculties of these early nations except 
by personification. Kingsley’s Greek Heroes gives a fine interpre¬ 
tation of these mythical characters. 




THESEUS AND THE MINOTAUR 


STORY OF THESEUS 


Theseus was the much loved hero of Athens, who in later times 
held the place of Heracles in the hearts of the youth of Hellas. He 
performed many ethical deeds and is said to have brought about 
the unity of the Attic states, with Athens for capitol. The festival 
of the Panathensea was instituted in honor of this event. 

The story of Theseus runs as follows: iEgeus, King of Athens, 
having no heir to his throne, made a pilgrimage to Delphi, there to 
consult the Oracle. Not pleased with the answer, HCgeus went to 
visit his wise friend, Pittheus, the King of Trcezen, and while there 
contracted a secret marriage with iEthra, daughter of Pittheus. 

Before leaving for Athens, iEgeus led iEthra to the seashore. 
There removing a great rock, he placed his sword and sandals in the 
hollow beneath it. He then said to her: “Do not reveal to our son 
his name and rank until he is old enough and strong enough to lift 
this rock. Then send him to Athens bearing these tokens, by which 
I shall know him.” 

This son was afterwards named Theseus. He was carefully trained 
by his grandfather Pittheus in all the arts pertaining to a King’s 
son. When he had become strong and manly enough, his mother led 
him to the boulder on the seashore, where he proved his strength. 

The story of Theseus is undoubtedly both mythical and historical. 
The story of the Minotaur tells of the freeing of Athens from the 
power of Crete. The many exploits of Theseus, like those of Hera¬ 
cles, Perseus and other popular heroes, grew with the ages. It is 
said that Cimon had the bones of Theseus brought back to Athens 
and laid to rest under the temple supposed to be built in his honor. 

71 


PEOPLE OF THE PLAY 


Theseus, son of JSthra and AEgeus 
HEthra, mother of Theseus 
HEgeus, King of Athens 
Pittheus, Theseus’ grandfather 
Medea, witch woman 
Athenian Citizen 
Countryman 
Eleusinian Citizen 
Minos, King of Crete 
Ariadne, Daughter of Minos 
Youths and Maidens of Athens 
Dancers and Servants 


STAGING THE PLAY 

Staging and curtains same as for Perseus sketch. 

Make a separate prop of labyrinth wall for fourth scene. 

Connect story by means of well timed curtains, exits and entrances. 
Hold pauses for Theseus’ journeys to Athens and Crete. 

This will give the effect of time and distance. 

For journeys have Theseus dress in cloak and travel hat. 
Costumes and properties fully described under Directions. 

Theseus was the last of the old Greek heroes. 

He was the active Knight Errant type of modern times. 

Theseus expected to do the impossible and did it. 

The character must be kept high keyed and aggressive. 

The action should smack a little of the heroic. 

Choose a lively, capable youth for the part. 

The words of the play are mere vehicles for action. 

The pantomime should be as expressive as the text. 

The actor of parts avoids wordy performance. 


72 




THESEUS AND THE MINOTAUR 

SCENE I 

Discovered: AEthra and her son Theseus ivalking on 

the seashore. Second Curtain. 

• 

Theseus. Mother, when shall I hear the story about 
myself? Am I not yet old enough and strong enough 
to know the truth! See, I am already above your 
shoulder. 

HCthra. My son, today is your birthday. Perhaps 
today is the time for you to know the secret. Let us 
see how strong you are. Here is a big boulder. Let 
us see if you can move it. 

Theseus. Move it? I shall hurl it clear over. [ Pushes 
mightily .] There, see how powerful I am? 

-ZEthra. My son, my son! Now you shall learn the 
secret of your birth. Do you see what lies in the 
hollow of the rock, there? 

Theseus [stoops and holds to light a sword and a 
pair of sandals\. * How strange, mother! Some one 
must have placed them there. This is a King’s sword 
—the handle is of ivory, embossed with gold. 

HDthra. My child, it is your father’s sword, placed 
there by himself, until you should become mighty 
enough to roll away the stone. Ah me! Now you 
will leave me. [Weeps.] 

Theseus. Where is my father? Is he a King? What 
country does he reign over? Why have I never seen 
him? 

HSthra. Your father is AEgeus, King of Athens, and 
he is awaiting your coming. 

73 


74 


FESTIVAL AND CIVIC PLAYS 


Theseus. But I cannot leave you and grandfather! I 
should like to try this sword, though. I feel strong 
as Heracles with it in my hands. [Swishes it.] 

JEthra. Here comes your grandfather. He will help 
you plan your journey. [Steps to one side.] 

Pittheus. Well, grandson, you have rolled over the 
stone at last and found your fortune? 

Theseus. Yes, grandsire. I have found my father and 
he is my fortune. When can I go to him? I must see 
my father, the King. [Strides about.] 

Pittheus. It is a hard and dangerous journey, and 
you would better go by sea. I will get you a ship 
and sailors. 

Theseus. Oh, danger! I long for danger. What can 
happen to me with this good sword, with which to 
defend myself-? 

Pittheus. There are robbers and thieves, wild animals 
and giants, and enemies of all kinds, ready to de¬ 
stroy you. You must take soldiers with you. 

Theseus [indignantly]. Indeed, that is not the kind 
of a son my father is expecting. What better than 
to play* Heracles and exterminate these monsters? 
I am ready to go at'once. 

Both go off with him, explaining and warning. His 
mother weeps over him. They return shortly, with 
Theseus equipped in shield and helmet and his 
father’s sword in his hand. 

Pittheus. Be not too rash, Theseus. Your father is 
expecting you alive. 

Theseus. My father, the King, is expecting a Prince 
and not a coward! [Pittheus shakes his head. 
HEthra weeps. Servants bring a handsome cloak, 
a helmet cap and shield, and equip Theseus for his 


THESEUS AND THE MINOTAUR 


75 


journey. Theseus takes leave of his mother and 
grandfather and goes out. Some time may elapse 
between this and next scene.] Third Curtain. 

SCENE II 

The early adventures of Theseus are only incidental 
to the slaying of the Minotaur, but may make a 
dramatic entrance at court for him. Theseus comes 
announced as a hero by his own acts, and gains the 
attention of his father by his deeds as ivell as by 
recognition of the sword. His new friends help him 
force his way into the King's presence. Medea is 
seated by the King's side. 

H3geus. What is this commotion I hear? Some new 
outbreak of our enemies ? Has there not been rioting 
enough? I am getting old and cannot endure much 
more. 

Medea. Sire, there is news of a youth, strong and bold, 
who is pushing his way into your presence. Another 
aspirant for your throne. 

HEgeus. What can we do to stay him ? Another inter¬ 
loper! [ Rises totteringly.] 

Medea. Let him enter. I will prepare a draught of 
welcome for him. [Mixes wine.] 

H^geus Theseus enters with a noisy crowd at his 
heels]. Welcome, youth. Why this visit to our 
court, and this uproar, as of a hero's triumph? 

Athenian. My lord, he is a hero! Has he not slain the 
robber Sinis, and broken Procrustes the Stretcher to 
fit his own bed? 

Countryman [ pushing forward]. Yea, good King. He 
slew the dangerous boar back in the woodland of 


76 


FESTIVAL AND CIVIC PLAYS 


Crommyon. And the wicked Sciron, who threw the 
travelers over the cliff into the sea, he finished in 
like manner. I followed him and saw both acts. 

Eleusinian. And he hath rid us of King Cercyon, our 
boastful wrestler, who forced all strangers to fight 
with him, killing them outright. 

Many [together]. He is a hero, a hero indeed! It is 
Heracles come back among us again. We have need 
of him. He is the Prince to rule over us. [They 
push him forward. The King observes him ivith 
amazement. The Courtiers look at him scornfully .] 

.Egeus. Come then, my bantling hero! Let us see this 
Heracles returned. Here is a bumper to thy prow¬ 
ess ! [Raises his goblet.] Drink, ye Princes, to your 
rival. Hail a new competitor for our throne. [Serv¬ 
ants pass goblets to drink. Medea, the witch, urges 
her special cup on Theseus, who pushes it aside, and 
goes toward his father, drawing the sword of gold 
and ivory from his belt. Pose picture . The King 
reaches out to him and speaks.] 

-Egeus. This is my son, my son! [He embraces 
Theseus.] This is indeed your Prince and future 
King. He hears a King’s sword and, by all accounts, 
has already honored it. [All salute The King as he 
places Theseus beside him in Medea’s place.] Be¬ 
gone, thou witch woman. Begone with thy treach¬ 
erous councils, from this kingdom. [Pointing to 
the young Courtiers.] And ye sons of Pallas, de¬ 
part, lest my wrath overtake you. This is my son 
and rightful heir, who shall soon reign in my stead. 
[Noise and shouting as the Courtiers depart in 
anger, while -Egeus embraces Theseus.] Second 
Curtain . 


THESEUS AND THE MINOTAUR 77 

SCENE III 

Discovered: Theseus and his father ^Egeus sitting 
talking together. A few Servants moving about . 

Theseus. But father, it were not wise, in this unset¬ 
tled state of your kingdom, to make me King at once. 
I am too young and untried, and you have many years 
before you. Now that the wicked witch woman, with 
her evil councils, is gone, let us set your kingdom in 
order and once more rule the people justly. 

HUgeus. I am weary of this contention. I would rest. 
Let me lean on thee and let us together restore the 
good will of the people. Stand thou with me before 
them and help me. [ They ivalk affectionately about 
together.] 

Theseus. Surely it was for this that my good grand¬ 
father Pittheus trained me. Take courage, father. 
Were it not better that I perform first some great 
deed? This would win the love and respect of all, 
before I try to play the part of King? 

AEgeus [pushing Theseus aside]. Ah, how low have 
I fallen! But even now must I send the shipload of 
youths and maidens as a tribute to Minos, king of 
Crete, to be devoured by the monster Minotaur. Ah, 
woe is me, that I listened to that wicked witch! 
There is none strong enough to overcome the Mino¬ 
taur, and thus we must suffer. [Walks nervously 
about.] 

Theseus [aghast]. What! send Athenian youths to 
be devoured by the Cretan Minotaur! No wonder 
the citizens do not trust you! I will destroy the 
monster! This is the great deed that shall win the 
love of your kingdom. [Paces about.] Let me go 
with them? We will not play slaves to King Minos! 


78 


FESTIVAL AND CIVIC PLAYS 


.ZEgeus. No, no, my son. I cannot let yon go now! 
You would only lose your way in the Labyrinth and 
be destroyed in the end. Wait until we can get a 
great army together, then march at the head of it. 
Theseus. We will not wait for an army. With your 
magic sword I shall have no fear. Call your court 
together for council and tell them that I will go. 
JEgeus. They will but laugh and say, ‘ 4 There goes the 
hero. Now we have seen the last of him.” They 
will again assail my throne. I cannot have thee go! 
Theseus. The gods will preserve me as they have 
heretofore directed me. Stay you here and set to 
work. You will see my white sail returning and to¬ 
gether we shall reign over Athens. [ JEgeus goes off 
despairingly to one side, as Theseus disappears on 
the other.] 

Note. Since the climax of the play is the slaying’ of the Minotaur, 
Theseus’ journey to Crete is omitted. After a proper wait the short 
scene between the hero and King Minos shows the character of the 
surly King. The following original dialogue written by a class was 
reconstructed for Scene IV. The students enjoyed working it over 
into better form as given in scene below: 

King Minos. Well, what do you want? 

Theseus. I want to kill the Minotaur. 

Minos. What do you want to kill him for? 

Theseus. So that he won’t eat any more of our boys and girls. 
Minos. Well, he belongs to me, so you can’t do that! 

Theseus. Well, wee’ll see about that. Etc. 

SCENE IV 

Discovered: King Minos walking about the city, ac¬ 
companied by slaves. He meets Theseus, who walks 
along boldly in his fine dress, before the first curtain. 

King Minos. Who is this bold youth striding along so 
proudly? 


THESEUS AND THE MINOTAUR 


79 


Slave. A stranger in the city, oh King! 

King Minos. Call him here. [Servant brings back 
Theseus, who has gone on.] What do you want in 
our city! Where are you from! Who are you! 

Theseus. I am Theseus, from Athens. I come with the 
youths and maidens who are to feed your Minotaur. 

King Minos. You will make a fine titbit for the mon¬ 
ster. [ Sneeringly .] 

Theseus. Indeed, I have come to kill him and release 
Athens from this dreadful tax. 

King Minos. E-h-h—You would kill the Minotaur! 
You are welcome—you are welcome. [ Walks off in a 
surly fashion. Theseus gazes after]. 

Theseus. Kings, indeed, who fear their own shadows! 
They slay youth that they themselves may live. I 
will slay the monster that youth may live [Theseus 
disappears to the side.] 

SCENE V 

The first curtain is now drawn and the wall of the 
Labyrinth appears, before which the youths and 
maidens of Athens are gathered. The girls weep , 
while the boys cheer Theseus, who comes on armed 
ivith his sword , ready to enter the Labyrinth. Ari¬ 
adne, daughter of King Minos, has followed him 
and stands at the side gazing at him. 

Maiden [pleadingly]. Oh, do not enter that dreadful 
place! It were better that we should die, than that 
you should be lost to your father! 

Youths [boldly]. Let us go with you. Yfe, too, can 
fight! Eight are better than one! At the worst we 
can all die together! 


80 


FESTIVAL AND CIVIC PLAYS 


Theseus [looks from one group to the other , as Ari¬ 
adne , the King's Daughter, attended hy her Maid¬ 
ens, now steps forward with a spindle of thread ]. 
Who is this ? 

Ariadne. 0 youth from Athens, I am Ariadne, King 
Minos’ daughter. I have come to save you from the 
monster Minotaur! 

Theseus. Fair maid, how can you do that! Can you 
help me slay the monster? 

Ariadne. I cannot help you slay the monster; that you 
must do. But I can help you find him in the Labyrinth 
and, with care, you may find your way out again. 

Theseus. But help me find him and, with my good 
sword and the aid of the gods, the Minotaur shall be 
slain. I do not fear him! 

Ariadne. That is what I have come to do. Follow this 
thread and roll it on the cone as you go. It will lead 
you to the lair of the Minotaur. There you will find 
another thread to bring you back again, if you es¬ 
cape with your life. The gods protect you! 

Theseus [to the Youths and Maidens]. I will return. 
Have no fear. [Goes.] [Suitable music may be 
played until Theseus returns . The Maidens fall on 
their knees and moan.] 

Maidens. He will be killed! He will be killed! We 
shall all die. He is very brave—he is a hero! 

Youths. We should have gone with him. We, too, are 
Athenians. We are not cowards. [They gesticulate 
and talk together. The Daughter of Minos stands 
with bowed head, waiting. Finally Theseus plunges 
back into their midst with drawn sword , and falls 
as if dead. They all gather around shouting, ‘ ‘He 
is alive! He has killed the monster.”] 


THESEUS AND THE MINOTAUR 81 

Third curtain in rear is now raised, showing the city. 

The populace pours in, crying, “The Minotaur is 
slain! The monster is slain! Long live Theseus, 
the hero of Athens !” They raise Theseus on a dais. 
King Minos comes on, raging.] 

King Minos. You have killed the monster and freed 
.Athens! Men of Crete, take him prisoner! Will ye 
he slaves to Athens? [The crowd hisses Minos and 
pushes him away.] 

Theseus. It was a fair fight, Minos; and you have lost 
it. No more Athenian youth shall be sacrificed to 
your wicked power. [A procession is formed, led by 
trumpets, and the scene closes with music and danc¬ 
ing, the procession circling about the stage and 
finally off.] Curtain. 









•MM 


* ' • 1 


m 


Atalanta’s Race— Poynter 























ATALANTA’S RACE 


STORY OF ATALANTA 


Arcadian Atalanta, snowy-souled, 

Fair as the sun and fleet-footed as the wind. 

According to myth, Atalanta was a native of Arcadian Greece, 
which was also the home of her foster goddess, the Greek Artemis 
(Roman Diana). Atalanta dates very far back in Greek mythology. 
Although born of human parents, she is named among the Argonauts. 
She was far-famed for her skill and courage in the chase and took 
part in the Calydonian hunt. 

Her father, Sehceneus, was disappointed because he desired a son 
and had his infant daughter exposed, as was the custom in those 
rude times. But she was protected and nursed by a mother bear in 
the forest. Here she was later found by some hunters who reared 
her and gave her the name of Atalanta. Her father finally acknowl¬ 
edged her, after she had become famous. 

All this heroic treatment seemed to give Atalanta unusual power. 
She joined herself to Artemis, goddess of the chase, and became 
known as the “fair, fearless and fleet-footed Atalanta.” She had 
many admirers, but, warned by an oracle that they would bring her 
misfortune, she kept them all at a distance. 

Occasionally she would allow her admirers to compete with her, 
knowing that at any time she could out-skill them. How she finally 
met her fate is told in the play. The harsh ruling of Artemis shows 
how great the prize set before the victor. In the end both Atalanta 
and Hippomenes were turned into lions because they trespassed upon 
the forbidden gardens of Zeus. 


83 


PEOPLE OF THE PLAY 


Atalanta, the huntress 

Schceneus, her father 

Group of Huntresses 

Messengers and Slaves 

Attendants 

Master of the Games 

Hippomenes, the Judge 

Aristides, Damonides, Certes, competitors 

Spectators, as many as desired 

Dancers, ten to twenty 


STAGING THE PLAY 

This sketch takes the form of a mimic Greek Festival. 

Suitable for indoors or outdoors, and requires but one setting. 

As a “play within a play,” it calls for both players and spectators. 

The stage is used for spectators, the steps for judges. 

The program of games and dances is given in the pit below. 

Races and dances prepared by Physical Training department. 

English and art teachers prepare text, costumes and decorations. 

Study Poynter’s “Atalanta’s Race” for general effects. 

Play presented by three groups: spectators, games, dancers. 

Spectators should be trained in expressing enthusiasm and applause. 

Spectators also supply artistic grouping and color schemes. 

Note. If a longer program is desired, it may be supplemented by a 
gay procession and Greek dancing in honor of the victors. This 
should be supplied by a fresh group, while all the people of the play 
remain as guests. [See Appendix for Greek Dancing , Costumes, 
Properties.] 


84 



ATALANTA’S RACE 


PANTOMIME PRELUDE 

The stage as arranged for the Spectators should show a woodland 
scene, with a Greek column on either side and an altar with incense 
at the back. Atalanta enters and turns to the altar, pauses, and 
hears from the hidden oracle, that if she wishes future happiness, 
she must join herself to Artemis, goddess of the chase. She is then 
joined by her Huntresses, who come running on, to whom she tells her 
fortune. They pantomime their joy, belt their chitons into short 
hunting tunics, sling their quivers over their shoulders, maneuver with 
their spears, or go through a short archery practice, and then flee 
away to the forest. Practice running, throwing, shooting to music. 
(See Music, Appendix.) 


SCENE I 

Because of the urgencies of her many suitors, Atalanta 
decides to race with them. 

Enter Atalanta and her Maidens. 

Messengers approach from the other side of stage. 

Messenger. We bring you, fair huntress, the condi¬ 
tions of the race and the names of your competitors. 
[Hands her a scroll.] 

Atalanta [reads from scroll]. Aristides—Damonides 
—Certes. Hippomenes to be Judge. [To Messen¬ 
gers.] H-m-m—your masters do know the condi¬ 
tions of the race? 

Messenger. Yes, Atalanta, thy conditions are well 
known. Yet, in spite of these, there are many youths 
who would try, for the prized sake. My lady, you 

85 


86 


FESTIVAL AND CIVIC PLAYS 


set your aim high, but it will be gladly met by many 
valiant ones. 

Atalanta. You know tliat the conditions are made by 
the mistress of my life, no one less than the goddess 
Artemis herself. She is a jealous mistress, and no 
follower can escape her word. Go now, and say that 
all will be in readiness at the race course on the day 
set. The god Hermes be with them and speed their 
gait. Poor fools, running to meet their death! 
[With her Huntresses goes out on one side and the 
Messengers on the other.] 

SCENE II 

A public stadium, with crowds of Spectators assem¬ 
bling. If given indoors, the stage can be used for 
the Spectators, the boys sitting on the edge ivith feet 
hanging over. Others stand behind them and upon 
a bach row on benches. Considerable art may be 
employed in this scene in coloring and grouping. 

The scene opens with the noisy coming and going of 
groups on the stage. Below the Judges and Competi¬ 
tors, with their Slaves and Attendants, assemble. 
There may be considerable trying out, feinting and 
mock stunts going on in the pit . Also a few prelimi¬ 
nary stunts of javelin throwing, jumping and other 
events may be indulged in. Make this a short pre¬ 
liminary program to the main event, if you like. The 
croivd must be trained to cheer and appreciate intel¬ 
ligently. The Master of the Games is an important 
character. He must be officious and commanding in 
his attitude. He is wrapped in a large scarlet cloak 
and carries a huge staff, with which he starts and 
closes events. Five minutes should be given to this. 


ATALANTA’S RACE 


87 


Then the Competitors enter the pit. Wild cheering. 
A trumpet sounds. 

Master of the Games [joins Hippomenes with hand 
grasp]. Greetings, Hippomenes. Thou art to be 
judge today. Stand thou here upon this platform, 
whence thou canst see the entire track. 

Hippomenes. Greetings and may the fates be propi¬ 
tious. Hast thou examined these candidates for cer¬ 
tain death! 

Master of the Games. Yea, they are as tit as training 
can make them. But unless the gods interfere, I can 
see no hope for their enterprise. 

Hippomenes. Can it be possible that any man will be so 
rash as to risk his life for a race! Has Atalanta yet 
arrived! 

Master of the Games. A slave just brought word that 
she has entered the Circus. Ah, there she comes, ac¬ 
claimed by the shouting crowd. Go to thy post. 

Accompanied by her father, Atalanta steps into the 
center of the pit to sound of trumpet. Dropping her 
mantle of white ivool, she pauses, slender but strong 
and erect, in her short tunic of white, with gold 
buckle and belt. She releases her ivory quiver and 
bow of the chase and stands ready amid deafening 
applause. 

Hippomenes [gazing in admiration]. Pardon me, 
youths. I knew not what ye were competing for. 
[Stands with his arms folded on chest.] 

Master of the Games. All is ready for the first trial. 
Aristides, take thy stand. Atalanta, give him inner 
place. [At a signal they are off. Hippomenes 
strains forward to see the result. Aristides is 


88 


FESTIVAL AND CIVIC PLAYS 


quickly out-distanced. He is dragged off. Two 
others suffer like fate. Great cheering from the 
stadium. Atalanta approaches the Judge’s stand.] 

Hippomenes [to Master of the Games]. Here, take 
thou my cloak and staff and do thou judge in my 
place. I shall run with Atalanta. 

Master of the Games. Art mad, man? Thou hast not 
trained! It will mean certain death to thee! 

Hippomenes. I am mad! No man shall win her but 
myself! The gods will help me! Where are thy 
lists? Write me in. 

Master of the Games [to Atalanta] . Thou hast a new 
competitor. [Hippomenes enters.] 

Atalanta. What god can tempt one so young and 
handsome to throw himself away? I know not that 
I should conquer so goodly a youth. [Crowd cheers 
impatiently.] 

Hippomenes [secreting something in his belt]. Why 
mourn those laggards, Atalanta? Now thou slialt 
have a worthy competitor. I offer myself for the 
contest. 

Atalanta. I pity thee for thy youth, and wish thou 
wouldst give up the race. Or, if thou be so mad, that 
thou wilt outrun me. [Her father prompts her.] 

Atalanta gives him the start. As she approaches him, 
he drops an apple. She hesitates a moment. She is 
even ivith him—he drops a second apple. She stoops 
but dashes on. As she passes him he throws a third, 
which she pauses to pick up and Hippomenes, passing 
her, touches the goal, a bare arm’s length ahead. 

Atalanta [holding out the apple]. It was the apple! 
[Breathlessly.] It was the apple! Curtain. 


ARACHNE AND ATHENE 


GREEK FOLK TALE 


Arachne was supposed to be the daughter of a Lydian dyer who 
was famous for his royal purples. She was a very skillful weaver 
and very proud of her skill. By her boasting she aroused the anger 
of Athene, the great patron goddess of the textile arts, and had to 
pay for her vain words in a very strange way. 

Athene was unrivaled in her weaving art, all her patterns and 
colors showing exquisite taste. She wove herself a marvelous robe 
that was the envy of all her friends, and was reputed to have woven 
one for Hera. She also gave Jason a beautiful scarlet cloak, when 
he set out in search of the Golden Fleece. 

Textile arts stood high among the Greeks. The chief ceremony of 
the Panathenaic festival was the dressing of Athene in her new 
Golden Robe, which had been spread like a sail out over the proces¬ 
sion. This remarkable robe represented the handiwork of chosen 
maidens of Athens for the four years intervening between festivals. 

The story tells that the only rival Athene had was her own pupil 
Arachne. The ability of the latter was so great that many agreed 
she wove more beautifully than her mistress. Urged on by her friends, 
Arachne made a boasting challenge, which was overheard by Athene 
herself, who took the maiden to task for her vanity and ambition. 

It all ended badly enough for Arachne in real folk tale style, since 
the latter never allows any brashness to go unpunished. Poor Arachne 
was changed into a perpetual spinner—a spider—doomed to spin an 
endless web down through the ages. It would seem that modesty is 
the best policy, even when dealing with the gods. 

89 


PEOPLE OF THE PLAY 




Arachne, Greek maiden 
Athene, goddess of wisdom 
Old Woman, Athene disguised 
Nymphs, Maids, Dancers 

Old Man, Youths, Women, Children, bystanders 



STAGING THE PLAY 

Playlet suitable for indoor or outdoor presentation. 
Particularly adapted for textile classes. 

May be given in schoolroom, garden or on a stage. 

Set scene on a porch, with steps approaching. 

Vine-covered columns or rustic vases will give Greek effect. 
At one angle set two large looms, with gaily colored hangings. 
Steps and space below to be used for helpers and dancers. 

A border of plants separates the street from the weavers. 
Street characters pass in the foreground. 

Pay attention to artistic grouping and color schemes. 
Arachne is richly dressed in blue and gold tapestry effects. 
Athene’s robes should be copied from one of the old statues. 
Consult Costume Suggestions for other characters. 




90 



ARACHNE AND ATHENE 


THE RIVAL WEAVERS 

Discovered: Arachne seated at the loom to the left, 
engrossed in her work. Women passing carry f ruit 
and floivers. A few curious Children hang about. 

Enter two Maids with baskets of colored wools, which 
Arachne sorts over, matching with those on the loom. 
She only turns to gaze haughtily as others come on, 
as at intruders . 

Enter Two Women. 

First Woman. She hath an astonishing web there! 
Second Woman. Indeed, she is rightly famed through¬ 
out Greece for her weaving. 

First Woman. And proud enough she is of her skill. 

She hath it from her father. 

Second Woman. Pride goeth before a fall, well we 
know. [As they go off Arachne tosses her head.] 

Enter Two Youths in dandified garb. 

First Youth. This is the far-famed Arachne and her 
web that I told you of. 

Second Youth. What is she weaving there ? She stops 
not short of Olympus and the gods, I hear. 

First Youth. She is ambitious and vain of her art. 
As for herself, she falls far short and has but few 

friends. . . 

Second Youth. That is sad. There is no interest 
here; let us get on. [ They go off chatting and 
Abachne shakes her head angrily .] 

91 


92 FESTIVAL AND CIVIC PLAYS 

Nymphs [run on laughing ]. She is so determined to 
excel that she has not even time to observe her ad¬ 
mirers as they pass by. [ All laugh.] 

First Nymph. Indeed, thou dost weave like a goddess! 

Second Nymph. Or is it for a goddess ’ room? 

Third Nymph. Why, ’tis a picture of Olympus! Wilt 
hang it by the bed of Zeus ? 

First Nymph. So wonderful thou art, Athene herself 
must admire! 

Arachne [tossing her head]. Let Athene but try her 
skill with mine. I ’ll gladly vie with her, and if ex¬ 
celled I will pay the penalty. 

Second Nymph. Thou darest to weave against Athene ? 
Impious maid! Thou art bold indeed! [The 
Nymphs draw away from Arachne and begin their 
dancing.] 

An Old Woman has drawn nigh and heard the chal¬ 
lenge. She gazes at Arachne’ s work while the 
Nymphs finish their dance. Then she steps forward. 

Old Woman [shaking her head]. Such a challenge were 
fit to give your fellow mortals, child, but scarcely to 
offer a goddess. 

Arachne. Why should Athene be offended, if my work 
be best? 

Old Woman. Thou wouldst not place thyself as her 
equal, vain child ? 

Arachne [tossing her head]. I am not afraid of the 
goddess. 

Old Woman. ’Tis not fear, hut respect for the divine 
one, thou shouldst have. 

Arachne [crossly]. Let the goddess come and try her 
skill, if she dare venture. And thou, old woman, keep 
thy council to thyself. [Turns and looks at her.] 


ARACHNE AND ATHENE 


93 


Old Woman [drops her cloak and shines out as a god¬ 
dess ..] Athene comes, thou boastful one. We will 
weave together. You may look to your laurels. [The 
Nymphs gaze in awe at Athene. Arachne collects 
herself and stands, proud and fearless.] 

Arachne. Take thou the other loom and let the con¬ 
test begin. 

The Nymphs bring heaped baskets of colored wools. 
Some assist Athene and others Arachne. They 
group and pose, making pretty pictures, while the 
two rivals work swiftly at their looms . Soft music. 

Beautiful patterns should be prepared beforehand and 
uncovered as they proceed. The famous butterfly of 
Athene may be gradually revealed on her loom. The 
Nymphs and Bystanders all exclaim over its beauty. 
At first Arachne ivorks swiftly and over-confidently*, 
but she soon becomes confused and flurried. She 
goes madly on; gradually her breathing becomes 
heavy and she begins to sob, as she strives to outdo 
the goddess . 

Bystanders. See, she loses her power. She is not the 
equal of Athene. The goddess wins. What now of 
her boasting? 

As Athene finishes her web, and the beautiful butterfly 
hangs complete on her loom, she points to Arachne’ s 
work. The maiden, overcome ivith shame, throws 
herself against her loom. Athene touches her fore¬ 
head and says: 

Athene. Live on, boastful woman! But that thou 
mayest preserve the memory of thy deed, thou shalt 
continue to weave, both thou and thy descendants, 


94 


FESTIVAL AND CIVIC PLAYS 


on through all future time. [A gray curtain, pictur¬ 
ing a black spiderweb, unrolls in front of Arachne 
and a big, fat, brown spider is dropped over the back 
of the loom, dangling from a strong thread. The 
Nymphs now hover about in frightened, regretful 
poses. Some group themselves around Athene. The 
Bystanders assume various tragic attitudes, hiding 
their faces, etc. A fine tableau should be held for a 
few moments. If there is no curtain, Athene may go 
off to the right, the Nymphs following her. The 
others disappear on both sides . 









BAUCIS AND PHILEMON 


STORY OF BAUCIS AND PHILEMON 


This is one of the loveliest of the old Greek tales and it should be 
enjoyed as a play sometime during the school years. Ovid gives a 
version of the story in his Metamorphoses, or nature mysteries, but 
we are interested in its setting forth of the graces of hospitality, 
which the Greeks held to be a trait of the gods. 

The social life pictured in the story was that of the Brazen Age 
of Greek mythology, when men led a life of contention and madness. 
Themis, the goddess of justice, had deserted them. Even the gods 
had become tired of their evil deeds and but seldom visited them. 

As the story runs, one day Zeus, with two companions, the fleet- 
footed Hermes and Ganymede the cup bearer, made a journey through 
Phrygia in order to try out the temper of his subjects. Zeus asked 
for shelter and hospitality wherever he went. 

After meeting with some very bad treatment, they arrived at the 
humble home of Baucis and Philemon. This good old couple, in 
spite of their poverty, showed a spirit of kindliness and generosity, 
which made them fit to be in the company of the gods and gained 
their highest regard. 

The argument of the play is built, first, upon the gratitude of 
these simple folk for the good things provided for them; second, 
upon their distress at the plight of the strangers, and grief over the 
rudeness of their neighbors; third, upon their surprise when they 
discovered whom they had entertained and their joy at the reward 
promised by their noble guests. 

This play requires the best talent and should be given by a group 
which has had some training in dramatics and in diction. An oak 
and a linden are supposed to be the trees which finally received the 
spirits of Baucis and Philemon. These two trees are pointed out 
by an old shepherd to this day. 


95 


PEOPLE OF THE PLAY 


Baucis, an aged wife 

Philemon, her husband 

Zeus, in garb of traveler 

Ganymede, cup bearer 

Hermes, god wearing winged sandals 

Villagers and Dancers 

Three Strangers, the gods disguised 


STAGING THE PLAY 


For indoor or outdoor performance. 

Play lends itself to any platform or stage space. 

A garden with trees and hedge makes a good setting. 

A pergola or leaf-covered shelter will serve for the dwelling. 

A few broad steps should lead up onto the stage. 

Place table, benches, dishes and other properties at hand. 

The old couple are dressed in coarse gray or white robes. 

The dress of the gods can be copied from pictures. 

Villagers appear as rabble, then as dancers in the interlude. 

If given indoors, gods and villagers approach from floor below. 
The temple to the left may be indicated by incense. 

Words of text should be spoken with dignity, clearly. 

Hurried gabble or palaver entirely out of place here. 

Walking, gestures and movements must be dignified and graceful. 


96 


BAUCIS AND PHILEMON 

EPISODE I 

The aged couple, Baucis and Philemon come on toward 
the stage from the right. Philemon leans upon his 
staff, Baucis, a little ahead, leading him with her 
right hand. When well toward the center, they stop 
and gaze around them. 

Philemon. The gods are kind, Baucis. In our old age 
they have given us this friendly rooftree for shelter, 
where birds build in the eaves and make us sweet 
music. These noble trees spread their branches to 
the heavens above, to give us shade when the sun 
rides high. For food we have the grains and herbs 
of the field, the honey of the bees, luscious fruits and 
goats’ milk. Yonder bubbling spring gives us cool, 
clear water to drink and keeps green the branches of 
our towering friends. Truly the gods are kind— 
they are kind. [He sways slightly as he gazes about, 
nodding and gesturing.'] 

Baucis. Yes, yes, Philemon. We are indeed blest with 
beauty and simple plenty for our needs. Our lips 
should speak praises daily and our hands share all 
that we have. 

Philemon [moving absently about]. I feel strangely 
lifted tonight, as if heavenly visitors were nigh! 

Baucis [looking around curiously]. Truly, such an eve¬ 
ning, with its glorious sunset, should lure the gods 
97 


98 


FESTIVAL AND CIVIC PLAYS 


themselves from their thrones, to step lightly about 
on this, their beautiful earth footstool. It is all be¬ 
decked with fair flowers and soft green, ready to re¬ 
ceive them. [ She puts out her hands invitingly as 
she moves over the sivard.] I. too, would welcome 
them. 

Philemon [raising his head and listening]. ’Tis as if 
I heard their voices speaking. 

Baucis [clasping her hands and turning toward him]. 
It is but the rustling of the branches above us. See 
how our good friends, the trees, lean and whisper to¬ 
gether. I have sometimes thought, dear Philemon, 
that they have messages to give us, if we could but 
understand them. 

Philemon [gazing and nodding his head, as if seeking 
something] . Nay, I doubt not the gods do speak to 
us, but we know not their language. 

Baucis [faster and breathlessly]. I will listen sharply 
for you. Perhaps they will make themselves known 
to us. 

Philemon [standing erect and shaking his head]. Nay, 
nay, good Baucis, the gods come no more. Such 
things are now but to dream upon. The Golden Days 
are gone. They come no more—they come no more. 
[Tremblingly he grasps his staff and with Baucis 9 
assistance ascends the steps of the stage. Baucis 
leads him to a bench at the side. The moderate 
speech tempo of older people should be preserved 
throughout.] 

Baucis [cheerfully]. Sit you here, Philemon, while I 
go spread our supper in the doorway—grapes and 
bread and honey and cheese—plain though it be, a 


BAUCIS AND PHILEMON 


99 


feast for the gods. Also, we shall have a pitcher of 
nature’s nectar, goat’s milk. 

Philemon [ smiling and shaking his head]. A poor 
jest, good Baucis, a poor jest! [Baucis arranges the 
low table in the open front of the shelter, bringing on 
the food and a pitcher, with drinking bowls.] 

EPISODE II 

Philemon [a noise attracting his attention, he rises and 
goes to the left of the stage, gazing out]. Who are 
yon strangers coming down the hill! They seem to 
point this way. See, see! The mad villagers are fol¬ 
lowing them—they are setting the dogs upon them! 

Baucis [joining him]. Such a sight! [ Excitedly.] Now 
the strangers turn upon them. See them slink off— 
the cowards! 

Philemon. Even the dogs seem in fear. ’Tis a pity 
to mar our fair evening with such a sight. [They 
stand gazing together.] 

Sounds of revelry come from the distance; a group of 
young people come on dancing gaily and chasing each 
other about; children follow; crowds of old and young 
surround three cloaked Strangers, tease and thrust 
at them, and dogs bark. 

Baucis. Go, good Philemon, go and rescue the stran¬ 
gers and bid them come here. We will shelter and 
care for them. [ Pushes him along to the end of the 
stage. He goes anxiously down the steps to greet 
the oncoming Strangers.] 

Philemon. Yea, yea. I will go. They look weary from 
travel. [Turns.] Do thou put on more food and pre¬ 
pare the bath. We will shelter and help them. 



100 


FESTIVAL AND CIVIC PLAYS 


[Baucis turns bach and bustles about, arranging 
benches, while Philemon hurries to greet the Stran¬ 
gers. The latter are wrapped in dark cloaks and lean 
heavily upon their staffs. They are dust covered and 
weary. Baucis goes forwurd to greet them. Arrange 
a good picture of the ivelcome on the steps of the 
stage. Do not hurry the action .] 

Baucis [stretching out her hands]. Welcome, stran¬ 
gers! Welcome to our humble abode. 

First Stranger [raising his hands]. Peace be to this 
house. The gods be kind to ye. 

Second Stranger. We are glad, indeed, to find this 
shelter from yonder inhospitable village. 

Third Stranger. They set their dogs upon us! A 
strange welcome for travelers. [They seat them¬ 
selves on the benches. Baucis helps Philemon to his 
seat , then runs and fetches a basin of water. The 
strangers bathe their hands and faces while Baucis 
offers the towel. She kneels and unfastens their san¬ 
dals. The guests relax.] 

First Stranger. Thanks to you, good friends. We 
have traveled far and were in sore need of this 
refuge. 

Second Stranger. Who are yon rude folk who greeted 
us with their dogs ? 

Philemon. Alack! They are not true Hellenes. They 
have departed from the ways of their fathers. 

Third Stranger. Thieves, they are! One did set upon 
me and tried to snatch my purse! 

Second Stranger. One huge beast did catch my leg be¬ 
fore I was aware. [Rubs his leg ruefully.] 


BAUCIS AND PHILEMON- 


101 


Philemon. Bring’ ointment, Baucis, before evil comes 
to the wound. [Baucis runs for the ointment and 
bandages ankle with a cloth.] 

Philemon. And now, welcome to our humble board, 
and let us forget these evils in the feast. Partake ye 
of our simple fare and eat sweet bread, and the 
cooling grapes, and drink the good goats’ milk. 
[They seat themselves.] 

First Stranger. That we will gladly do, for we are 
famished. [They eat heartily.] I would quaff an¬ 
other bowl of your good milk. It quenches the thirst. 

Second Stranger. My thirst, too, is great. I would 
dring again. [Baucis looks fearfully into the pitcher 
as she pours out the last drop.] 

Third Stranger. My thirst seems unquenchable! 
[Leans forward with his empty bowl.] 

Baucis [apologetically]. I fear we have come to the 
end of our draught. 

First Stranger [pushing Philemon’s bowl towards 
Baucis]. Pour more, good woman, pour more! [She 
pours into the bowl and Philemon drinks. He rises 
in astonishment.] 

Philemon. ’Tis nectar I drink—the nectar of the gods! 
I told thee, Baucis, that I felt them near! The gods 
have come—the gods have come! [The Strangers 
also rise. Throwing off their cloaks, they appear in 
beautiful robes, Zeus in the familiar beard.] 

Baucis [dropping her pitcher]. ’Tis Zeus himself and 
his fleet messengers whom we have entertained! 
[Throivs herself at his feet. Philemon stands 
trembling. Make a tableau here.] 


102 


FESTIVAL AND CIVIC PLAYS 


Zeus. Well have ye bestowed upon the gods their own 
best gift of hospitality, thereby making yourselves 
immortals. For he who drinks the nectar of the gods 
can no longer remain in mortal state. My children, 
choose such gifts as I can bestow. 

Baucis [taking Philemon's hand]. That we may not 
be separated by death, 0 Zeus! 

Philemon. That we may remain together forever, 0 
Zeus. 

Zeus. Palaces, lands, gold, rich raiment, ambrosial 
foods, all shall be yours, whatever you wish. Would, 
ye be immortals and dwell with the gods? 

Together. Nay, nay—that were too much! We would 
worship the gods, not dwell with them! 

Zeus. ’Tis well. But first, my winged messenger, go 
thou and destroy utterly yon impious villagers. Let 
them no longer deface this fair earth with their pres¬ 
ence. Let the earth quake and swallow them. Let the 
flood follow after, that no sign of their blasphemy 
remain. [Hermes quickly strides away. Zeus 
stands in silence , pointing to the village from which 
they came. Sounds of tumult and shrieks are heard. 
Philemon and Baucis gaze in fear as they cling to 
each other. The uproar finally subsides and Hermes 
slowly returns. Picture . Zeus then turns to the aged 
couple.] 

Zeus [pointing]. See yon beautiful temple arising 
from the ruins of the village? There shall ye daily 
serve and worship. And in the end, what is your 
desire? 

Baucis. To be together, to stand fresh and wholesome 
as these, our friends, the trees—to bear fruit and to 
shelter all who travel this way. 


BAUCIS AND PHILEMON 


103 


Zeus. So shall it be. Together ye shall stand united 
in these two trees, and give rest and shelter to all who 
pass. Travelers who come this way shall be blest in 
your shade. Mothers and young children shall sit 
beneath your branches and tell your tale. The whole 
world shall know of your fame. [Exeunt gods to the 
left, quickly disappearing under the trees. The old 
couple gaze dazedly after. Then, looking towards the 
temple columns, they walk with youthful steps and 
rapt expression, rapidly towards the same . They dis¬ 
appear within and the smoke of incense may be seen 
rising from the altar.] 

Note. Phrygia, a Thracian colony in Asia Minor, was an im¬ 
portant border protection to the Greek states. The native Phry¬ 
gians were of mixed Persian and Syrian origin. They persistently 
opposed the constructive policies of the Greeks and constituted a 
hostile faction responsible for many disturbances. Plato protested 
against the introduction of Phrygian customs into Greece, or even 
the rendering of Phrygian music. The occasion described in the 
above story evidently is intended to show the hoodlum character of 
the mixed races. 



Damon and Pythias 


104 






DAMON AND PYTHIAS 


STORY OF FRIENDSHIP 

This beautiful story is typical of the friendships which existed 
among Greek youths. As the boy grew up he was encouraged to 
make warm friendships among his fellows. It was also the custom 
for young men to attach themselves to some worthy older man whom 
they looked upon as an example and as a patron; who gave them 
advice or help when needed. 

Greek history affords many instances of such friendships. One 
is that of Alexander the Great for Hephaestion. Xenophon quotes a 
Spartan general as saying, “Men, honor calls me to die where I now 
stand. I bid you save yourselves before the enemy is upon us.” But 
his young friend forsook him not. 

The Greeks considered such ideals of devotion helpful in develop¬ 
ing loyalty, trustworthiness, self-sacrifice and other desirable and 
noble traits of character. Our own Boy Scouts are aiming at like 
ideals, though of a far less strenuous and exacting nature. 

Syracuse of Sicily was one of the famous cities anciently settled 
by Greeks and a storm center of political contention. Dionysius the 
Elder ruled with a strong hand. It was at this time that Plato was 
induced by his friend Dion to visit Syracuse to try out his plan for 
the Ideal State. It is said he was sold as a slave, for his pains. 

The date of Dionysius’ reign was about 400 B. C., which gives a 
definite time and place for the action of our play. Damon and 
Pythias were members of the society of Pythagoras, to which the 
young nobles belonged. They were sworn to friendship, and their 
name yet lives in the Knights of Pythias. 

105 


PEOPLE OF THE PLAY 


Damon and Pythias,, two friends 
Noble Youths 

Dionysius, tyrant of Syracuse 

Magistrate 

Two Witnesses 

Guards and Soldiers 

Mother and Sisters of Pythias 

Boris, a slave 

Traveling Merchant 


STAGING THE PLAY 

A continuous play presented in three scenes. 

One curtain will be sufficient to stage the play. 

The front drop rises on a public square or market-place. 

A movable platform, steps and columns indicate approach to temple. 
Scene II calls for a rustic house pushed on from left. 

Scene III requires a prison yard and execution block. 

These are prepared back stage and shown as curtain rises. 
Pythias’ journey may be suggested by reappearance from wings. 
The merchant’s horse is not seen but heard stamping without. 
Official dress for Dionysius, magistrate, soldiers, as in plates. 

Rude street dress and cloaks will do for other characters. 

With a happy choice of leaders, this makes a pleasing play. 


106 


DAMON AND PYTHIAS 

A Play for Boys 

SCENE I 

A street of Syracuse. A crowd has gathered to wit¬ 
ness the arrest and imprisonment of young Pythias. 
Two armed Guards hold the prisoner between them. 
A Magistrate is rendering judgment. Farther back 
stands Dionysius, ruler and governor of the city. He 
is surrounded by a Guard, Nobles and Youths. 

Magistrate. By these witnesses art thou accused of an 
attempt on the life of our Ruler Dionysius. Dost 
thou plead guilty to this accusation? 

Pythias. I did call him a tyrant and corruptor of this 
city. He oppresses the citizens and robs us of our 
privileges. It is a just accusation! 

Magistrate. Nay, more! You did threaten his life, # us 
these witnesses testify? 

Witnesses. Yea, yea. We saw the attack, as he started 
from the crowd. 

Pythias. I have no desire to deny my wish to rid the 
earth of an oppressor. Some one must rise against 
him, whatever the cost. 

Damon. Be not rash, good Pythias. Remember thou 
hast those depending on thee. It is not wise to stir 
a tire with a sword. 

Py^thias. I remember but too well! It was the thought 
of my own and their future that drove me to it. 

Magistrate. Then thou confesseth thy guilt! Hear 

ye_judgment! judgment! Self-confessed and by 

107 


108 FESTIVAL AND CIVIC PLAYS 

witness of these citizens, thou art found guilty of 
treason and intent to kill! 

Populace. Judgment—judgment! [ Gesturing .] 

Noble. To prison with him and may a speedy death 
rid us of another malcontent. 

Populace. Hear! hear! Away with him to prison, 
away, away! 

Dionysius [ stepping forward]. In three days, young 
man, shalt thou pay the debt of thy rashness. Thy 
sentence shall he death by the sword. 

Youths [in turn]. Nay, nay, hasten not thus thy 
judgment! The man has a family and affairs. Let 
him have time to prepare! It is not as if he were a 
common malefactor. We will stand by him. 

Dionysius. I will extend the time to five days. And 
let us on to matters of state. I am concerned with 
greater things than the life of a malcontent. [Goes 
off with a following of fawning citizens.] 

Youth. But this were tyranny, indeed—to deprive a 
citizen of the right to close his estate and take fare¬ 
well of his family and friends! 

Populace. To prison with him, to prison! [Growling 
approvingly.] 

Damon [intercepting Dionysius]. My Lord, I am this 
man’s friend. I beg the privilege of being hostage 
for him until he returns from the settlement of his 
affairs. I will go to prison in his stead. 

Dionysius. Thou? An&what if he return not! Wilt 
take his place in death ? 

Damon. I will serve my friend even unto death! Re¬ 
lease him and take me in his place. 

Dionysius [astonished]. Wilt thou go to prison for 
another? [Turning to the Guards.] Take Damon 
instead. And let us await the outcome of the matter. 


DAMON AND PYTHIAS 


109 


If thy friend return not, we shall be well rid of ye 
both! [Exit.] 

Damon. Go, good Pythias, and comfort your mother. 
I will take your place for life or death. [Damon and 
Pythias take leave of each other affectionately. 
Damon goes with the Guards.] 

SCENE II 

Discovered: Pythias standing in front of a coun¬ 
try house with his Sisters on either side. His Mother 
stands by disconsolate. The women bow their heads 
silently for a moment; he then kisses them farewell 
and steps forward to the left. 

Pythias. Ho, Boris! Bring me my horse. It is time to 
depart! 

Boris. Your horse, Master! Did you say your horse? 

Pythias. Yes, my horse! that I may hasten back to 
Syracuse. Why do you tremble so! Has anything 
happened to the horse? 

Boris. Yes, Master, your horse is dead! 

Pythias. Dead! Then, traitor, you have killed him! 
[Rushes toward him.] 

Boris. Oh, Master, I could not let you go to die! Think 
of my mistress and your sisters. Stay with us! The 
Tyrant will not follow you here. [Falls at his feet.] 

Pythias. Murderer! It is not my horse that you have 
killed. It is my friend! Damon! Oh Damon! Out 
of my w r ay, murderer—traitor! [Striking him.] I 
stay too long and Damon will die. [He rushes off on 
foot in great agitation.] 

If staged indoors, a highway and stream may be simu¬ 
lated by running in and out of the wings. If given 


110 


FESTIVAL AND CIVIC PLAYS 


out of doors, part of the journey may he easily sug¬ 
gested by various reappearances. 

Pythias [to merchant leading horse]. Friend, sell me 
your horse! I must reach Syracuse by sunset, and 
I cannot run any farther. Sell me your horse! I 
will give you any price you may ask. [Spoken breath¬ 
lessly and hurriedly.] 

Merchant. No, good sir, I need my horse. It is too far 
to walk, and if I go on foot, robbers will overtake me! 

Pythias. I cannot parley. It is a matter* of life and 
death for another as well as myself. Will you sell! 

Merchant! No! 

Pythias. Then I must take it by force. Here is your 
price! [Throws down a purse and takes the horse. 
Sounds of galloping heard outside.] Curtain. 

# 

INTERLUDE 

Young Nobles gather before front curtain and discuss 
fate of the two friends. 

First Youth. This tyranny is to he borne no longer! 

Second Youth. It is the first time he has dared to at¬ 
tack one of our Society of Pythagoras. 

Third Youth. He is afraid of us; he hates our Mas¬ 
ter’s teachings. I warned Pythias, but he lost his 
head at sight of the Tyrant. 

First Youth. Now both may perish! We must save 
them or all perish together. 

Second Youth. I have a plan. Let us get all our 
friends together and at the last moment rush upon 
them and save them both. 


DAMON AND PYTHIAS 


111 


Third Youth. Good! Now away and spread the news 
and be ready. [Exeunt in haste.] 

SCENE III 

Scene represents a prison yard. A block stands in the 
center, with prisoners grouped about at various oc¬ 
cupations. Group of Youths crowd forward. Da¬ 
mon is led out of prison between two Guards and 
stands near the execution block. 

Dionysius [ tauntingly ]. Aha, good Damon. Your 
friend, it seems, has not come back to die for you. 
You foolishly thought that he would keep his prom¬ 
ise! But I knew better. Do not ask for mercy! 
None will be granted! 

Damon. I ask not for mercy. .Pythias is either sick 
or dead, for he would never break his word to me. 
He would be faithful even to death, as I am to him. 
[The sun sinks lower. Damon is led up the steps 
of the block on which he is to be beheaded. The peo¬ 
ple look sorry, for they admire his bravery. Dio¬ 
nysius makes merry. Noise is heard. A shout 
arises .] 

Populace. ’Tis Pythias! ’Tis Pythias! He hath come, 
he hath come! 

Pythias [pushes through the crowd and leaps upon the 
block]. Forgive me, Damon! I could not come 
sooner, but praised be the gods, I am yet in time. 
[Throws his arms about Damon.] 

Populace. Pardon for Pythias! Pardon for Pythias! 
[Much shouting and cheering.] 

Dionysius [bowing his proud head, he turns to Guards 
with gesture]. Release the prisoner. [Stepping be- 


112 


FESTIVAL AND CIVIC PLAYS 


tween the two.] Let there now be three true friends! 
Damon, Pythias and myself. No longer will I be 
called Dionysius the Tyrant, but Dionysius the Good. 
For ye have shown me that love and friendship are 
the greatest things in the world. Teach me to be like 
you, [Cheers.] 

Youths [rushing forward]. Hail! Dionysius also 
among the Pythagoreans. We will now all be 
Friends together. [Gestures of surprise.] Curtain . 



Bust or Pericles 


PERICLES AND THE BUILDERS 
OF ATHENS 


STORY OF PERICLES AND PHIDIAS 


The Golden Age of Pericles forms a milestone in history and 
marks the climax of many wonderful events in Greece. Since the 
time of Homer there had been great growth in government and un¬ 
exampled development of literature and the arts. The culture of 
Greece came to full flower in Pericles’ time. 

The Restoration of Athens was a project that called into opera¬ 
tion all the genius of the Greek people. A beginning had been made 
by Cimon soon after the destruction of the city by the Persians. But 
it needed the master minds of Pericles and Phidias to complete it. 

The final victory over the Persians had filled the treasury of 
Athens with much tribute money. Pericles had 'gained the good will 
of all the citizens by placing himself at the head of a popular party. 
He also established a new order, paying those who served the state 
out of state funds. 

Pericles w T as much criticized for his “Democratization of Athens.” 
The success of his measures was proven by the Thirty Years’ Peace, 
and gained the cooperation of the citizens of Athens for his enormous 
undertaking. 

Phidias, the great sculptor and friend of Pericles, was made super¬ 
intendent of the work. He brought together the artists and artizans 
of Greece, who vied with each other in producing the masterpiece 
of Greek architecture. It is difficult to account for the glories of the 
Parthenon, except as it stands for genius and loving service. 

Plutarch says of Pericles that, in spite of his “up-in-the-air no¬ 
tions, he had great dignity, aloofness, eloquence, uprightness and 
patriotism.” As a young man he did his duty as a soldier, and then 
turned his attention to the needs of his beloved Athens. Though 
handling great sums of money, it was said of him that he had not one 
more drachma at his death than when he entered office. 


113 


PEOPLE OF THE PLAY 


Pericles, the ruler of Athens 
Phidias, the sculptor 

Agoracritus, Alcamenes, Colotes, his pupils 
Callicrates, Ictinus, Mnesicles, Xenocles, architects 
Thucydides, politician and followers 
Evangelus, secretary to Pericles 
Archons of Athens ( five in number) 

Chief Archon 
Menon, the traitor 
Soldiers and Slaves 
Clitias and the potters 
Sophroniscus, the stone-cutter 
Minister of Affairs 
Courtiers and Citizens 
Workmen, Builders, Apprentices 
Dancers and Merrymakers 

STAGING THE PLAY 

Subject suitable for a festival play. 

Greek art and architecture is the theme of the play. 

Play is staged with one setting—an Athenian street scene. 

A bare platform may be dressed in deep blue curtains. 

Outline the proscenium with painted Greek columns and frieze. 

If given on a school stage, cover scenery with colonade. 

Let art classes handle this to secure type and proportion. 

All props and accessories should be light and easily movable. 

Cornices, columns, bases, may be roughly -washed on old curtains. 

Back drop should show trees, blue sky, steps, vases, etc. 

Frieze dancers should perform before front drop. 

These afterwards hold poses as statues in Phidias’ workshop. 

Sketch makes a good project for junior and senior art classes. 


114 


PERICLES AND THE BUILDERS 
OF ATHENS 

Senior Play 

SCENE I 

Pericles has decided upon the restoration of Athens 
and has assembled the Citizens in the market-place 
to discuss the project with them. He is standing 
near a colonnade, a little apart. He is dressed in 
white, blue and gold-bordered robes of state. The 
Citizens are dressed in blue, white, gray and 
orange robes. Sandals and uncovered heads are the 
rule . 

Pericles. Citizens of Athens, I have called you to¬ 
gether today to discuss the building of the long walls, 
the finishing of our temples and the beautifying of 
our city. The good work which Cimon began must 
be completed. As yet our buildings hold no high 
place in the world. We have suffered the disasters 
of war. The Persians destroyed our finest temples. 
Those begun by our fathers are unfinished and falling 
into decay. We must complete them. I see a City 
Beautiful rising from these heights which will charm 
the world. Will you help me do this ? 

Citizens [murmuring]. How can we help you build 
Athens? We have no wealth. We must earn bread 
for our families. 

Pericles. Better ask, how can I build Athens without 
you? A great city is the creation of all its citizens 
and not of one man. The large stones need the small. 
[Murmurs among the people.] 

115 


116 


FESTIVAL AND CIVIC PLAYS 


Thucydides. Just hear him flatter the people! This 
will be a great day’s work for Pericles. 

Followers. Yea, yea—hear him! It is Pisistratus 
returned among us! 

Pericles. Good fellows and brothers, are you but 
meant for war and vultures’ food! ’Tis in my mind 
that we shall build a city for our time and pleasure. 
To do this, we need a greater army than to meet an 
enemy. We shall need thousands of workmen. Will 
you not as lieve work for our city, as for one another! 
Will ye not as lieve work for pay peacefully, as for 
fighting and death! 

Citizens. Yea, yea—that we will! we will fight with 
stones and mortar, instead of spears. We will take 
gold from the city treasury for pay—but show it us! 
Ha-ha-ha! This is humor of the right sort! 

Pericles. If so, it w T ill only be your share of your own 
earnings! The treasury is overflowing with Persian 
tribute, which you and your fathers helped earn by 
sweat of blood. This gold, by the aid of your good 
will and brawn, we would convert into beauty and 
glory for Athens, and pay you for your labor besides. 
[Eloquently .] Will you help—stone-cutters—car¬ 
penters— moulders — miners—smelters! We shall 
have use for all. Come to the Acropolis tomorrow. 
Go spread the news. Bring your fellow-workers. Go 
to the Ceramicus and call the potters. We have need 
for them too. I must leave you for today. [Goes out 
with friends, right. They meet in the porch of the 
temple at rear of stage. The crowd goes out talking 
and calling : 1 ‘ Hail Pericles, hail! ” 4 4 Long live Peri¬ 
cles, the friend of Athens!” 4 ‘Ha-ha-ha! we earned 
the Persian treasure. We will build the city for him. 
Hail, all hail!” All off.] 


PERICLES AND THE BUILDERS OF ATHENS 117 


Minister of Affairs. Did you not act a little hastily 
in this matter, Pericles? Are you quite ready for 
such an undertaking ? 

Pericles. I have dreamed of it day and night. The 
people are restless. Why send them to war and de¬ 
plete the state, when their energies will build up our 
city? Besides, did you not see Thucydides and his 
spies there? If we do not occupy the people, they will 
soon have them in mischief. 

Courtier. Whom will you make chief over such a mob, 
good Pericles? It’s a large order! 

Pericles [ to a slave]. Call Evangelus, my secretary. 
[ Turning , he discusses plans with the others.] We 
will send at once for the Master, Phidias. He, 
with his pupils, will take charge of the stone-cutting, 
the moulding and the statuary. Callicrates, Ictinus 
and Xenocles will take charge of the building and the 
roofing. We will finish the Long Walls and the 
Parthenon, overlooking the sea. [To Evangelus.] 
Send out messengers for the master artizans, and 
tell them to bring their armies of laborers to the 
Acropolis tomorrow. There will we appoint their 
duties. [Messengers come and go.] Send for Cli- 
tias, the king of potters—Epictetes, Hieron, Scythes 
and other vase painters. Send for the moulders, the 
workers in bronze and iron; send out men to the 
quarries for marble; send ships for brass, ivory, 
gold; ebony, cypress and other precious woods. Meet 
me tonight at my house. Bring reports of the treas¬ 
ury and our other resources. Bring Phidias and 
others. We will work till dawn. Tomorrow’s sun 
shall rise on a new and more glorious Athens. 
[Exeunt all.] Curtain. 


118 FESTIVAL AND CIVIC PLAYS 

SCENE II 

Pericles and Phidias stand on a platform to the left of 
the stage, while a procession of workmen, with tools 
of all kinds, pass in groups before them. The dress of 
the latter is in darker colors, browns, blues, tans, 
grays, orange, etc.; their feet are shod in sandals and 
thongs; their tunics shortened ivith leather belts. 
One color in different shades makes good effect in a 
group. 

Pericles. Good men, ye have heard of our enterprise, 
the rebuilding of Athens. By your presence here, I 
take it ye are for it. [Shouts, “Yea—yea—we are 
for it.] I have set Phidias over you for Surveyor 
General of all the works. The master artizans will 
have charge each of their own workmen and will 
bring reports to him. The merchants who furnish 
brass, ivory, gold, ebony and other materials will con¬ 
fer with him about quantities. The carters, wagon¬ 
ers, cattlemen, road-builders, quarrymen, all who 
transport material, will come to me and my secre¬ 
taries. I must away to the city to see about other 
matters. The gods speed you! Phidias will read the 
appointments. [Exit.] 

Phidias. All stone-cutters and moulders who have had 
practice in these arts, place yourselves here beside 
Agoracritus, Alcamenes, Colotes and others of my 
pupils. Also the lads who would serve as appren¬ 
tices. [They group themselves.] Next, the carvers 
who work in relief and the painters, who will add 
glory to your works, place yourselves on the other 
side. As to the statues and the stories of the gods 
to be placed on pediment and frieze, we will plan 
those together. Builders, see here Callicrates, 


PERICLES AND THE BUILDERS OF ATHENS 119 

Ictinus, Mnesicles and Xenocles, your Master Archi¬ 
tects, under whom you will place the foundations, 
build the walls, rear the columns, and arch the roofs 
of the temples of our new Athens. Are ye ready to 
serve with tool, lever and derrick? 

Builders [shout and hare their arms]. Yea, yea! We 
will help you build Athens. 

Phidias. And now to the potters. As a brother artist, 
I have long wished to pay my respects to your humble 
guild. For long centuries you have preserved the 
heroes of Greece in your household pots and pans. 
From these the children have gathered wisdom, as 
well as partaken of food. All hail to the Cerami- 
cians! [Laughter.] 

Clitias. I bring with me Ergotimus, the painter, and 
my band of ragged potters. Though ragamuffins, 
we be disciples of Apollo, good and true. We have 
not waited for the building of temples, but have daily 
cut our visions into clay. Thus did we learn the 
secrets of our craft, and make ready for the temples! 

Potter [flourishing a lump of clay on a stick, and caper¬ 
ing about]. Yea, yea, we be merry fellows. Give us 
black bread and sour wine, with an onion for dessert, 
and we will quickly scratch you centaurs or pigmies, 
as you will! What say you, brother potters, shall we 
help build the temples? Aye, aye, that we will. 
[They dance about their pots on sticks, singing 
roughly, ‘ ‘ Ho-la—ho-la—ho-la! ” ] 

Phidias. Then bring on your tents and tools tomorrow, 
and I will give you patterns; and we will begin 
modeling the stories of Troy. 

Commotion among the workmen as Thucydides and 
his Followers force their ivay through the crowds, 


120 


FESTIVAL AND CIVIC PLAYS 


crying: “They corrupt the people! They misuse 
public funds!’ ’ 

Thucydides. Know you not, Athenians, that ye are in 
the hands of a charlatan? By what right does Peri¬ 
cles appropriate the public funds? ’Tis but to buy 
you over to his will. He is worse than Pisistratus! 

Citizens. Hear, hear! We are not bought! We are 
helping to build Athens! 

Thucydides 9 Followers. Build Athens? Ye are help¬ 
ing build Pericles! [All shout and argue riotously, 
then go off in groups. As curtain draws , crowd as¬ 
sembles for next scene.] 

SCENE III 

Discovered: In the market-place of the first scene, 
Pericles, Thucydides and mixed crowd. 

Pericles. What is this charge you bring against me, 
Thucydides ? Am I not acting to please you ? State 
your claims and let the people here be judges of 
our case. 

Thucydides. ’Tis that thou dost tamper both with the 
funds and the minds of Athens. In the end Athens 
will be a statue erected in honor of Pericles! 

Pericles. Would you that we spend the revenues on 
more wars or more luxuries for you? I would 
rather take the moneys of conquest, and turn them 
for once to the glory of our Mother Athens, now 
lying in ruins and decay! 

Thucydides. You spend too much —work too quickly! 
Leave something for other generations. You are 
squandering public funds on your gods and temples! 


PERICLES AND THE BUILDERS OF ATHENS 121 


Pericles. I spend too much? Then, if you think this, 
let the cost go not to your account, but to mine; and 
let the inscriptions on the buildings stand to my 
name, and not to Athens! 

Crowd. No! no! Let it stand to Athens! We are work¬ 
ing for Athens and not for Pericles! We stand ready 
to give our lives for Athens! We take in wages only 
what yve have already earned! 

Workman. Spend more—spend generously from the 
public purse! Spare no cost until all is finished. 
Other Workman. Away with Thucydides and his mis¬ 
chief-makers. We stand by Pericles. [They run 
Thucydides and his party off with shouts of, “ Away, 
away!” “You can’t make a crab walk straight!” 
Pericles. Thanks to you, comrades, for your approval. 
[Takes their hands.] Many years have you stood 
with me, but there is yet much to do. Work is better 
than war, we now believe. Spare not your labor, and 
we may yet worship in these temples before we die. 
The world shall know that our beautiful buildings 
have been reared by the labor and good will of all 
the people. Athene of the Parthenon will give us 
wisdom and guard us. [Pericles and Phidias go off 
together. Others follow.] 

Note. An interlude of a Greek frieze with Greek music may be 
given against the front curtain. [Appendix.] As the curtain rises 
the dancers may join in poses in the sculptors’ workshop. 


SCENE IV 

The curtain rises on a sculptor's workshop, with clay 
groups covered with cloth. Some of the Elgin Mar¬ 
bles might be posed, as parts of the pediment. The 


122 


FESTIVAL AND CIVIC PLAYS 


dancers might strike some of the attitudes of the 
Amazons or other groups of the Parthenon frieze. 
The apprentices draw rapidly from the figures. The 
pupils of Phidias talk among themselves while direct¬ 
ing the work. 

Agoracritus. See! The Master, Phidias, has put his 
own name on my statue. 

Colotes. Our Master is a great as well as a good man. 
He let me work on his Zeus at Olympia. 

Alcamenes. My Venus took the Athenian prize, though 
not justly. Where is Soplironiscus and his doughty 
son, Socrates? We are not getting on with this 
statue. 

Enter Sophroniscus hastily. 

Sophroniscus. Aye, aye, here! I had to get me new 
chisels. As for Socrates, alack! I left him in the 
market-place, arguing with his sophist friends. 
What will you, when you have a philosopher for a 
son! 

Agoracritus. Strike him off the list. Philosophy will 
not chisel stone. 

Sophroniscus. What is this gossip I hear about your 
Master Phidias ? I just now saw Menon in the mar¬ 
ket, reciting an impeachment for theft of gold from 
the mantle of Athene. 

Pupils [aghast]. Menon assail our Master’s honesty? 
’Tis a scurvy trick! How could he steal from 
Athene? We will be his witnesses! Phidias thieve 
from the gods? I would as soon expect Athene to 
commit perjury. Menon will be struck down for his 
impiety. [Alternating exclamations .] 


PERICLES AND THE BUILDERS OF ATHENS 123 
SCENE Y 

Phidias appears before curtain to right, ivith scroll of 
draivings, unrolls, reads. He is older than at first. 

Phidias [slowly]. The years move on, but so do our 
temples. Our work has been a glorious one. It 
stands alone in the world. In this short time, we 
have reared the like it has taken centuries to achieve 
before. Many hands have made swift work; good 
will has made it strong; the gods have uplifted it, 
and Pericles has not failed us. [He looks about, 
musing and satisfied.] Here is an account of our 
building. [Faster.] Ictinus, the Parthenon en¬ 
larged and adorned with statues, pediment and 
frieze; Callicrates, the walls of the Acropolis; 
Mnesicles, the Propylea; Xenocles, the Odeum with 
its resounding roof; my great, golden Athene, who 
overlooks the sea; five colossal statues and 300 lesser 
ones; countless decorations; 4,000 square feet of 
frieze. The work has progressed, but is not finished. 
[Looking up.] My good pupils have wrought nobly. 
They must complete it. [Briskly rising.] And now 
to weightier matters. I am accused of stealing gold 
from the robe of Athene. How wise of Pericles to 
suggest that the cloak be made separate, that it can 
be weighed! [Sighing.] How trivial a thing is the 
mind of man! [Off to the left.] Curtain. 

SCENE VI 

Discovered: In a public space Archons of Athens 
sitting behind a railed place to right. Phidias and 
his pupils stand in the right wing. Pericles and his 
secretary with papers, are on platform to center back. 


124 


FESTIVAL AND CIVIC PLAYS 


Menon and friends to center facing front. Menon 
holds scroll as if reading. 

Menon. Ye have heard the impeachment of Phidias. 
What judgment will ye render? 

Chief Archon [to Phidias]. What defense hast thou 
against this accusation? 

Phidias. None but the facts of the case. Let the scales 
be set up and the mantle weighed. Ten talents of 
gold it calls for. Is it there? 

Archon [ astonished ]. Dost mean to say the mantle is 
made with such skill it can be removed from the 
statue ? 

Phidias. The mantle was made in sections. When we 
work for Athene, we are given wisdom with which 
to defeat her enemies. 

The Archons leave to weigh the mantle. In the in¬ 
terval of waiting, Pericles, Phidias and the archi¬ 
tects wander about appraising the works. 

Reenter Archons, and report. 

Phidias. Ten talents and over. Yea, I ran short on the 
pendant and added gold of my own. 

Archon. Acquitted—acquitted! Thou mayest retire, 
Menon. [Pupils take the robe.\ The next charge is 
of impiety—that thou didst mould thine own face 
and that of Pericles on the shield of Athene. What 
hast thou to say to that? 

Phidias. Ha, ha! Didst fear that I desired to immor¬ 
talize my old bald pate? We artists must use mod¬ 
els; throughout we have used slaves and workmen. 
On this occasion the shield was finished late. In 
lieu of a slave I used myself for the old man needed. 
Pericles sat with me and watched. I may have trans¬ 
ferred something of my friend onto the shield— 

Archon [breaks in]. Thou dost confess to that! 


PERICLES AND THE BUILDERS OF ATHENS 125 


Other Archons. He confesses, he confesses! 

Phidias [ haughtily ]. I confess nothing. Are not our 
forms as good as those of slaves? Who better fit to 
adorn the shield of Athene than those who serve her 
day and night, and build her temples of beauty and 
excellence! 

Archon. Add not violence to thy other sins. Take off 
the figures and go free. 

Phidias. That I will not do. Is the creator naught? Is 
the man who has helped you to build a new Athens 
only a tool? Let Athene herself strip us off her 
shield, if she likes us not. Athene, goddess, make thy. 
choice! [Great excitement.] 

Archon. He raves. [To attendants.] Take him to 
prison until his anger cools. 

Pericles [ interrupts ]. It were better to avoid this, 
Phidias. I am helpless and we have need of you. [To 
Archon.] End this shameful wrangle and let the 
man go free! 

Archon. He must be judged first. Thou thyself canst 
not stop the law! 

Pupils. This is shameful! We will go to prison for 
you, Master. We will change the shield with a stroke 
—there is yet much work on the temple. 

Phidias [brokenly]. Nay, nay, friends. I am weary. 
I would rest awhile—in prison if need be. Come to 
me there. [Pupils support him off , as all go in va¬ 
rious directions, talking angrily.] Curtain. 

SCENE VII 

Time: evening. Blue , dimmed lights on stage. 

Discovered: Pericles reclining on couch , facing front 
towards the sea. Music sounds nearer; he rises and 


126 


FESTIVAL AND CIVIC PLAYS 


steps fonvard. A dancing procession may pause be¬ 
low in front of stage, perform and pass on laughing. 

Pericles [watching the dancers go by]. All Athens is 
gay tonight with lights and dancing. Only the old 
and poor and its exhausted builders are left within 
the walls. [Looking about.] Athens, thou beau¬ 
tiful Athens! Gazing with eyes of truth upon the 
world. Thou art the queen of cities; built and cher¬ 
ished by thy citizens; the love of thousands inscribed 
within thy walls. [Walks about gesturing.] The 
price paid for thy beauty was my friend, Phidias. 
He gave his life for thee. [Looking up.] But Athens 
is thine for all ages to come. Athene, great goddess 
of wisdom! We have beaten the gold of thine ene¬ 
mies into a mantle, which now flashes thy messages 
out beyond the sea. [Lifting his hands.] Receive 
thou our homage. Thy gleaming shield and spear 
a*re raised in challenge to the world.* The work is 
finished. Athens is rebuilt. Rejoice, dance and pipe, 
ye children! tAs for myself, I can only say, that no 
Athenian ever wore mourning through act of mine. 
[Stands ivith raised hand for a moment, then slowly 
sinks back upon the couch. The lights grow dimmer 
and music softer . The curtain slowly falls.] 


*Perieles has in mind the two statues of Athene, the Parthenos, in the 
temple, and the Promachos, without. The latter he indicates with gesture. 

tLast words of Pericles. 

The Elgin marbles, finest examples of Greek art, consist of portions 
of the frieze of the Parthenon, metopes and parts of statues. They are 
now in the British museum. 



STORY OF GREEK LAW MAKERS 


Senior plays 

Our present educational interest in civics and our constitution calls 
attention to the struggle of older civilizations in constructing laws. 
The Greeks are extolled for their art, philosophy and literature, but 
they also had unusual insight into principles of government. 

The names of Lycurgus and Solon are traditionally associated with 
Spartan and Athenian laws. These differed as widely as their people 
and their leaders. Lycurgus seems to have employed sound judgment 
in handling his warlike and aggressive Spartans; Solon used thought¬ 
ful wisdom in the affairs of the Athenians. 

The policy of Sparta was shaped for the protection and advance¬ 
ment of the State. That of Athens advanced the State, and strength¬ 
ened its resources but looked also to beautifying the city and culti¬ 
vating the arts. Thucydides said, “Our State is equally admirable in 
peace and in war; though lovers of the beautiful, we cultivate the mind 
without loss of manliness.” 

The rugged Spartans preferred to hold their gatherings in the open, 
usually in the agora or market-place, as they said they did not like 
to have their minds disturbed “by looking at walls.” Their Councils 
were named Appella, which means called. The word is preserved in 
our term Appellate Court. To avoid jealousies they always had two 
Kings, five Ephors or overseers, besides the Council of Thirty. 

The Athenians also had two great out-of-door assembly places, the 
Bema on the Pynx, and the ancient Council Rock on the Areopagus. 
The latter was called Ares or Mars Hill, from which Paul addressed 
the men of Athens. On this rock from time immemorial had been 
held all the criminal courts and official meetings. 

At Athens the councils were chosen by lot, from all parts of the 
country. No Archon could hold office for more than one year, and no 
reelections were allowed. Each Archon presided only for a day and 
a night, during which period he was the head of the State. 

127 


LYCURGUS THE LAW MAKER 

PEOPLE OF THE PLAY 
Lycurgus, the law maker 
Ephors, Spartan overseers 
Harmost, governor 
Nobles and Helots 
Charilaus and Archilaus, Kings 
Spartan Girls and Boys 
Market Folk, Soldiers, Crowd 

STAGING THE PLAY 

Scene represents street and agora, or market-place. 

Outline stage with two Doric columns and stone altar in rear. 
Arrange broad, rude steps from floor to platform. 

Costume the players in rough, colored cloaks and tunics. 

Archons wear red plastron in front. Nobles colored cloaks. 

The situation may he introduced by characteristic groups entering 
and holding the stage for a short time to make atmosphere. 

first group 

Boys and girls of Sparta, practicing their games. 

A race between two boys, given on the floor just below stage. 

A race between two girls. Then between boy and girl victor. 

A humorous mock battle with rushes or bladders between two sides 
may be staged; or present a game of battle ball. 

The play should be lively but not belligerent. 

SECOND GROUP 

Group of old folks come on to watch the boys and girls at play. 
Group of workmen and market folks with tools and baskets. 

These chatter and arrange their wares at the right side. 

THIRD GROUP 

Helots or slaves gather at the left crowding off the boys and girls. 
The groups crowd to the far left side and argue angrily. 

Helots begin to wave their sticks threateningly. 

Soldiers come on right and push them back, making way for players. 

128 


LYCURGUS THE LAW MAKER 


Remarks of the Mob [given to various players to shout 
during entrances]. 

First. Ha-ha, they would make us obey. Let them 
try it. 

Second. Let them gather, they make a fine show. 

Third. Ho-ho, here come the Kings. They make an 
empty show. 

Fourth. It takes two of them to do nothing. We will 
only obey a real King. 

Fifth. Here comes Lycurgus. He is a real King. We 
will obey him. 

Ephors, Nobles, Citizens come on left, ascend stage 
and take their places, with officials in front. The 
Two Kings come down the middle aisle alone, ascend 
the steps and take places on either side of stage. 
Last Lycurgus comes with Harmost. Loud cries of 
“Welcome, Lycurgus, welcome.” 

Harmost [stepping forward with Lycurgus]. Spar¬ 
tans, Lycurgus has returned to us in the hour of 
need. Shall we not urge him again to take charge of 
our affairs, and help us to rebuild our broken laws? 

People. Lycurgus, Lycurgus! We will listen to his 
council. He is a Prince among men. 

Lycurgus [ advancing ]. Brother Spartans: It is by 
the will of Apollo that I stand before you. In his 
name I greet you. I have been consulting the oracle 
at Delphi and bring you his words of wisdom. You 
have only lost faith in your laws and yourselves. 

129 


130 


FESTIVAL AND CIVIC PLAYS 


You have a good Ship of State, with sound beams and 
ballast. If you have lost your rudder, let us build 
another, before we come to shipwreck. Are you 
agreed? 

People. Aye, aye! We will listen to your words, if 
they are fair. 

Lycurgus. The Spartans always aim to be just. For 
this reason you have two Kings and five Ephors. I 
would now appoint other thirty citizens to keep a 
just balance between your rulers and yourselves. 
[People shout: Hear, hear ! M ] Let these be a coun¬ 
cil to take both sides . As for yourselves, you shall 
keep the peace and give no advice. But when the 
time comes, be ready to vote and ratify or reject the 
cases laid before you. 

People. Aye, aye! That sounds reasonable. We 
will vote for the right of it, have no fear. We want 
only justice! 

Lycurgus. You have said it. An unjust state is a 
sick state. When a man is sick, a wise physician 
must give strong medicine. I understand there is 
great distress among you. Are you ready to be 
cured by strong measures? 

People. Ah-ah-ah—thereby hangs a tale. Now he will 
call figs figs and a tub a tub. 

Lycurgus. I will be bold and tell you the truth. You 
have been lax in your discipline. The wealth of 
Sparta—her land and its produce, have gone to the 
few; want, envy and crime are the portion of the 
many. We must call in the gold and silver and re¬ 
distribute the land. Laconia should be like a great 
family estate—divided among a number of brothers. 

Nobles. Not so, not so! He would make beggars of 
us all. We are not for it! 


LYCURGUS THE LAW MAKER 


131 


Lycurgus. Wealth is for the gods and the good of all. 
To a true citizen of Sparta, iron coin should rank 
the same as gold, since the only need of currency is 
in exchange for goods! 

Citizen. Would you give us iron money? A trades¬ 
man would need a yoke of oxen to drive home his 
profit at night! [Laughter.] 

Beggar. Ha-ha! It would take a sack full to pay for 
a dish of cabbages. Ha-ha! 

Lycurgus. But by the same means we would banish 
crime from the State; for who would rob another of 
such coin; or who would accept such lucre for a 
bribe; who would hoard such weighty treasure? 
[Laughter and jeering among the crowd. All make 
witty retorts in true Spartan style, such as: i ‘Ha-ha! 
I will carry mine in my head, it is hollow; bring on 
your iron men,” etc. Practice pithy remarks.] 
Lycurgus. The wealth of Sparta consists in her sol¬ 
diers and defenders, not in her merchandise. Why 
should a Spartan send his money abroad for foreign 
luxuries—for engravers, jewellers, rhetoric masters, 
dance instructors, fortune tellers? A defender of 
Sparta does not need the soft living of his enemies! 
He should hearten himself with the black broth at 
the common table, in the company of his friends! 
Our fathers said, the true Spartan needs no other 
ornament than a sword—just long enough to reach 
his enemies. [Loud shouts of anger from the Nobles, 
who rise and point at Lycurgus. He steps to one 
side shielded by the Ephors.] 

Nobles [threatening, some snarling]. Ah-ha! He 
has returned to lord it over us. He wishes our gold 
and silver, to enrich the State treasury and himself 


132 FESTIVAL AND CIVIC PLAYS 

on the side. Go back to your travels and leave us 
in peace. 

Ephor. Methinks Lycurgus has touched us on the 
wound. [To Nobles.] These whining cries show 
where the wolves lurk. We have heard the cure for 
our ills. Men of Sparta, who will stand by the laws 
of Lycurgus? Step forward. Let us raise the old 
call of courage—for Sparta—and her Glory. Who 
will pledge himself anew? [A great shout goes up. 
“ Aye, aye! We are Spartans! We pledge ourselves! 
We will follow Lycurgus.’’ They crowd to his side.] 

Lycurgus [quietly]. As for myself, I go away. I have 
but one request to make. When I am gone, gather 
together with your leaders, to perfect in your own 
way such measures as will protect and bring glory 
to your State. Are you willing to put yourselves 
under oath to give the matter a fair trial until my 
return?* 

People. We swear before the gods, we will change 
naught till you return. Apollo be our witness. [All 
turn off in groups to either side.] 

Note. The sketch quotes as nearly as possible the actual words 
of Lycurgus and many old Spartan sayings are introduced which 
reflect the spirit of the scene as recorded in such books as attempt an 
account of this time. The theme supplies an excellent argument for 
the free spirit of the primitive Greek. 


*Lycurgus having exacted this oath, never returned. 




Athene Parthenos 


133 

































SOLON THE LEGISLATOR 


PEOPLE OF THE PLAY 

Solon, Athenian lawmaker 
Pisistratus, Tyrant of Athens 
Archons, Soldiers and People 
Messengers and Boys 

STAGING THE PLAY 

Stage set with one scene representing a rocky height. 

Extend stage down to floor with rough burlap. 

Arrange rude stone steps to upper stage. 

Arrange a stone table and benches on upper stage. 

Play calls for chief actors and crowd of twenty-five or more. 

The text calls for broad, somewhat self-important acting. 

Costumes simple. Archons appear in cloaks, carrying staves. 

Groups assemble, move about slowly, going and coming. 

Note. When Solon was elected Archon, the affairs of Athens were 
in a great tangle. The laws of Draco, which punished all crimes alike, 
were too drastic for the times. The Nobles had a way of getting a 
poor man into debt and many free citizens and their families were 
imprisoned and sold as slaves. 

Solon saw there was but one way out, to annul all public and 
private debts made on security of land or persons. This was known 
as the “Disburdening Act,” clauses of which read: 

1. All who are in slavery for debt shall be set free. 

2. No one shall sell his children or women to pay his debts. 

3. No one shall lend money on the security of the person. 

4. No one shall own more land than the amount fixed by law. 

Solon was a clear-headed statesman whose motto was “Nothing in 

excess,” which gained him the name of Legislator. His wisdom placed 
him among the “Seven Sages” of the world. Solon was also a poet 
and when he wished to address the people he did so in verse.— 
George Willis Botsford, History of the Orient and Greece. 


134 



SOLON THE LEGISLATOR 

SCENE 1 

Citizens assemble on Council Rock ; groups enter talk¬ 
ing earnestly together. Archons ascend rock. Boys 
light braziers of incense on either side of stage. 

Messengers [pass through below, waving pennants ]. 
Assemble ye—assemble ye—Citizens of Athens, this 
day upon the Council Rock. [Pass on.] 

Solon with friends comes down the middle aisle. People 
turn and shout: i 4 Solon, Solon! Hail, all-wise 
Solon!” They help him up the Rock where the 
Archons greet him, placing a ivreath on his head. 

Chief Archon [leads Solon forward by the hand]. The 
gods be thanked for thy safe return, Solon. Athens 
has great need of you today. Solon will speak to us. 

Solon. I greet you with joy, good people of Athens. 
It is long since we have stood together on this Coun¬ 
cil Rock to reshape the Laws. How have you kept 
them, and are you prosperous ? [Shouts, 6 ‘ Yea, yea, 
we have kept them—welcome home!] 

Archon. We have kept them at times and broken them 
at times. [Laughter.] We have profited and gained 
trade. We have gold in the treasury, from your 
advice. The Council is assembled today to discuss a 
matter which threatens the freedom of our State. 
Solon will make speech for us. [Waves hand to 
Solon.-] 

Solon [turns gravely, wrapped in his robe]. Brother 
Archons and Athenians: You well know the state 


135 


136 


FESTIVAL AND CIVIC PLAYS 


of our laws; how we lifted the bloody yoke of Draco 
from our necks. How our poorer citizens were im¬ 
prisoned or sent in chains to foreign lands, there to 
he sold as slaves. How our “Disburdening Act” 
took the poor man out of prison and put mercy into 
the heart of the rich. How with choice by lot and 
short term of office, we made one-man rule impos¬ 
sible. How through metal coinage we rid ourselves 
of barter and exchange; by means of common weights 
and measures, won a place in foreign trade. A limit 
set on the accumulation of lands; a rectified calendar; 
a code of laws for public and private life; all these 
have helped make us an orderly and powerful people, 
with strength for war and time for the arts of peace. 
We have silenced Megara. What now stands in our 
way? [Applause.] 

Archon. Well spoken, Solon. You have set matters 
before us clearly and correctly. What now troubles 
us is the appearance of the arch enemy of our State, 
the Tyrant. 

Archons. The Tyrant—the Tyrant! Down with Pisis- 
tratus! [ Muttering among themselves.] 

Solon. Pisistratus, you speak of—he carried himself 
well at Salamis—um-m—and is no doubt now mak¬ 
ing coin of his valor for his personal gain. 

Chief Archon. Not only that, but he is gathering a 
band of followers and slyly setting his house in order 
for greater honors. He is already to be feared. 

Solon. From the promise of his youth I had hoped 
that he would make an honest statesman. He is 
kind to the poor and urges their cause. What is 
this uproar? [Turns as a noisy crowd, led by 
Pisistratus, torn and excited, appears at the left . 
Council stands . Much shouting.] 


SOLON THE LEGISLATOR 


137 


Pisistratus. Ah, my good kinsman Solon, we are well 
met. [Turning to people.] As I was coming along 
the highway, from my house in the country, I was 
set upon by the nobles [showing his wounds and torn 
robe.] They hate me and will kill me yet, unless I 
am protected! See, these men have joined me! Give 
us permission to go out and seek the murderers and 
bring them to judgment before the Council. 

Solon. We know not the truth of this matter. Go and 
bring the men here and we will inquire into their 
case. [Pisistkatus and his folloivers go out, talking 
excitedly. One turns and shouts back to the 
Archons: “We shall see who is master of Athens.”] 
Archon. I like it not. You will find that this is but an 
excuse for further mischief. He is not of the Demos , 
but of the Aristoi, as the people will soon discover. 
Call a guard and send after them. Send scouts to 
spy out their actions. We have given him too much 
power. [Group of soldiers hurry off. There is mur¬ 
muring throughout the gathering.] 

Solon. I knew not how matters had come to pass. I 
have often warned Pisistratus not to let his ambi¬ 
tions overrule his judgment. He has a good mind 
and could be of service to the State. But not by over¬ 
riding the Constitution. [Roaring of crowd is heard 
in the distance , which grows louder as it draws 
nearer. Messengers come on crying.] 

Messengers. Pisistratus—Pisistratus! He has de¬ 
clared himself ruler over Athens. He has stormed 
the Acropolis and placed himself under the protec¬ 
tion of Athene! [More men come running.] He is 
on the way to the Council. He comes. 

Solon. He has not dared to break the sanctity of the 
Constitution? 


138 


FESTIVAL AND CIVIC PLAYS 


Messengers. Indeed he has already taken hostages of 
the children of the rich. None dare oppose him. 
Here he comes in person, with the people of Athens 
for guard. [ People cry out. ‘ 6 Hail Pisistratus, Euler 
of Athens!”] 

Pisistratus [boldly ascending the steps and addressing 
the Archons] . As you see, the people have chosen me 
for ruler. It was not my choice! Your laws and 
Constitution shall in no wise he disturbed, good 
cousin. We have other views and shall occupy our¬ 
selves with the arts of Athens, restore the bards, 
build us theaters and temples, make Homer live in 
song and verse. For this the people have chosen me 
to lead them. We will beautify Athens. 

Archon. Ha! A peaceful Tyrant, who sings the song 
of the Siren—art and culture. 

Solon [advancing angrily ]. Profane not this Council 
Place with your false speech, lest the gods fall upon 
you and destroy you. For a Tyrant’s rule is not 
without opposition, nor will you be allowed to rule in 
peace. Nemesis will follow you and push you from 
your high place, even as I am now crowding you from 
this sacred rock. [Pisistratus goes cringingly down 
before Solon, his followers moving with him. The 
Archons form a dramatic group around Solon.] 
The free people of Hellas have met here for ages 
past, nor will they bow their heads to a petty ruler. 
Go and reap the reward of thy deed. [Solon points 
as Pisistratus slinks off to the right. People shout 
“Long live Solon and his Laws.” All exeunt .] 

Note. The subsequent career and defeat of Pisistratus make an 
excellent theme for class development. A discussion of the Constitu¬ 
tion may prolong the play. 


SOCRATES THE PHILOSOPHER 


STORY OF SOCRATES 

The Academy, or Garden of the Philosophers, lay just outside of 
Athens, on the west bank of the Cephissus. To reach it you took a 
road out past the Areopagus Council Rock; on through the Street of 
Tombs of the Ceramicus, to a shady, well watered grove. Here the 
Athenian philosophers loved to foregather and wrangle over Greek 
politics. 

Tradition traces the garden back to Academus, a supposed hero of 
the Trojan war, who made a gift of it to the city of Athens. For 
many years it was a barren field, until Cimon reclaimed it, planting 
it with olive trees and green turf, making it a retired and refreshing 
spot. Later one of the famous gymnasiums of Athens was installed 
here and Socrates came to watch the youths at their games. 

Story has it that, as a young man, Socrates followed his father’s 
trade of stone-cutter and sculptor. But he was altogether too fond 
of argumentation to make a success of any trade. He was deeply 
interested in government and citizenship, not for the sake of holding 
office, but only to find out the truth about these things. He would 
enter into an argument with anyone anywhere, and talk all day until 
he got to the right of the matter. 

Socrates was a great favorite among the young men of Athens. 
Plato was his sworn follower and pupil, and wrote down his opin¬ 
ions, which are preserved in Plato’s “Republic” and “Laws.” These 
are arranged in a series of dialogues and discussions with Socrates’ 
pupils, which give us the whole mind of the great philosopher. 
Socrates was a great teacher and knew how to draw out his students. 

You may hear discussed in these out-of-door Symposia almost any 
of the problems of today. The tenets of our new education so 
strongly reflect these old opinions, that we may be said to walk and 
talk with Socrates daily. The lively interest in citizenship in our 
schools promises just such results as the old philosopher was trying 
to instill into the minds of the young Athenians of his day. 

139 


142 


FESTIVAL AND CIVIC PLAYS 


Robert and Harry [in simultaneous astonishment ]. 
Wha-a-a-at! What’s that? Why, this isn’t Greece! 
How could we get there? How could we go to the 
Academy? 

Academus. Oh, that’s quite all right. We meet there 
off and on, right along—some of the old crowd and 
some new ones. Socrates isn’t dead! He’s been 
popular right down the ages. 

Robert. But we haven’t the clothes—how will we get 
there ? 

Academus. Don’t worry about that! We’ll take the 
next Mediterranean Aero Limited, and pick up some 
clothes as we pass through Athens. Come on, look 
sharp—don’t lose your heads! [Lively exit.] 

SCENE II 
The Academy 

Wide steps leading onto the stage, set with plants, sug¬ 
gest garden entrance which is noiv revealed by drawn 
curtain. A raised section in the middle of the stage 
can be made to look like a terrace. This is set with a 
low stone bench and table. Boulders about make 
seats for the boys. Socrates comes on from right 
below stage, conversing with his students. They 
ascend the steps, Socrates seating himself on the 
bench, Plato at his feet and the others scattering 
about in easy positions. Enter Robert and Harry 
left below stage, with Academus. 

Robert [to Academus]. Who are all these people? 

Academus [aside]. Don’t you recognize your old 
friend? 

Harry. Why, it’s Socrates, of course! Can’t you tell 
by his flat nose? 


SOCRATES THE PHILOSOPHER 


143 


Robert. And that young man with him must be Plato! 
Keep still, or we’ll miss something! [ They find 
places, while Academus remains standing behind 
them.] 

Socrates [looks about smiling]. It is good to sit under 
the old trees once more. Well, young philosophers, 
how about truth-seeking this morning! Still follow¬ 
ing the scent like young hounds, I trust! [ Looks 
at boys.] I see new faces. Let all be welcome! When 
last we met at Piraeus, we were considering Justice. 
Polemarchus, do you still hold, with Simonides, that 
“Justice consists in giving every man his due”! 

Polemarchus. I do, sir. You led us to see that the 
perfect State could only he established by putting 
each man in his right place, and then letting him do 
that for which he is best fitted. 

Socrates. Well spoken, Polemarchus. For the benefit 
of the newcomers, can you tell us a little more of our 
discussion about building a good State, Adeimantus! 

Adeimantus. I think the argument was, that if we let 
men work at that for which they are best fitted, you 
will quickly supply your State with all the trades 
and occupations necessary to the people. You will 
have shoemakers, dyers, weavers, carpenters, smiths, 
toolmakers, farmers and merchants and market men 
to handle goods; banks and exchanges to take care 
of money and prices. 

Harry [aside to Robert]. That’s like our towns, only 
we have factories. 

Socrates. You have given us a good review. We were 
next to speak of the Guardians of the State, who 
would be needed to preserve Order and Justice. 
Glaucon, how shall we train them to be fit leaders of 
the people! 


144 FESTIVAL AND CIVIC PLAYS 

Glaucon. You spoke of good education, sir. 

Soceates. Education and rearing, I said! If by good 
education they can be made into reasonable men, they 
will readily see through all difficult questions. Come, 
then; like good story-tellers, let us try to describe 
the education of our citizens. Adeimantus, you 
lead on. 

Adeimantus. You spoke of the value of the true tale, 
to help men to gain truth, self-control and courage, 
and the contrary evil of false tales. 

Socrates. Just so. You and I, as founders of a State, 
must refuse admittance of any fiction, except such as 
promotes the good. For what children hear and 
imitate becomes habit and second nature. Shall we 
expect the truth from children who have been in¬ 
structed in lies ! Assuredly not. 

Robert [aside to Harry], Whew! That puts our light 
literature on the blink. 

Socrates. What of music and literature and gymnas¬ 
tics, then! [Turning to Harry.] What kind do you 
approve ! 

Harry [confused]. I am afraid you must leave me out 
of this, for I don’t know, but I have my suspicions. 

Socrates. Under the term music, do you include reci¬ 
tation! I do. Again we have the true and the false 
to deal with. Do you think that music, without grace 
of rhythm and harmony, accompanied by foolish and 
evil words, would be allied to evil, and that here law¬ 
lessness might creep in, under the guise of amuse¬ 
ment, professing to do no mischief! 

Adeimantus. You may include me in this doctrine. 
Your idea is that evil images gradually gain a place 
and then insinuate themselves into custom, and from 
there on impudently attack laws and constitution! 


SOCRATES THE PHILOSOPHER 


145 


Robert [ interrupting ]. You should hear our jazz and 
see our Charleston. [All turn and gaze at him.] 
Socrates [absently]. Eh— I am not familiar with those 
forms. But our children must be held to lawful 
amusements from the first, for it is impossible for 
those accustomed to lawlessness to grow into loyal 
and virtuous men. When children receive loyalty 
into their minds, it will accompany them into every¬ 
thing they do, and promote the progress of any State 
institution with which they have anything to do. Do 
you agree to this? [Enthusiastic “Ayes!” from all.] 
Glaucon. What you say sounds just and reasonable. 
Socrates. Next, if the Guardians are to live hardy and 
frugal lives, gymnastics must hold a place in edu¬ 
cation. This no doubt ought to begin in childhood 
and go on through life. What do you think of this ? 
My own belief is not that a good body will render a 
good mind, but that a good mind, by its excellence, 
will help render a perfect body. The spirited element 
of gymnastics will hold the two in balance and the 
child will gain the highest strength. 

Thrasymachus [ sarcastically , sitting up]. But, good 
friends, this sort of existence, always training for 
perfection, will be anything but a pleasurable one. 
Socrates. Perhaps so. But should our object in train¬ 
ing Guardians be to secure to them the greatest 
amount of happiness for themselves , or will it be 
their duty to see that the State as a whole enjoys 
happiness ? Will it not rather be the business of the 
Guardians to study the best ways for all classes to 
partake of as much happiness as the nature of their 
case allows? 

Adeimantus [nodding his head]. Precisely so. I think 
what you say is right. 


146 


FESTIVAL AND CIVIC PLAYS 


Harry. That is what our City Commissioners are try¬ 
ing to do with baths and parks and playgrounds in 
the United States! 

Socrates. All this will he necessary to establish Jus¬ 
tice. The Guardians will not only see to the greater 
things, but will not forget those trifling regulations 
of good manners, dress, behavior and the like, which 
help preserve the serenity of the State. 

Thrasymachus. Say, say! Are you not carrying this 
matter of training too farf To try to legislate on 
these matters would be foolish. It is never done! 
Nor could any legislation on such points be per¬ 
manent. 

Robert. But our States are beginning to legislate as 
to what shall be taught in the schools. And we’ll 
have to do a lot more before all the nonsense is taken 
out! 

Socrates [turning]. Who are these youths you have 
brought here, Academus ? 

Academus. I picked them up in the States where they 
are trying out many of your plans. They believe in 
education over there. 

Harry [as both boys rise]. We are from the United 
States of America. We have been studying Civics 
so as to become better citizens and learn how to help 
rule the country. We like your plans and shall go 
home and study hard. We thank you for letting us 
listen in; we wish we could join your class. 

Socrates [rising and coming toward the boys]. Well, 
well! In the end all great dreams come true. Now 
you have found the way to our Symposia, come again. 
I have heard that your young athletes carry all be¬ 
fore them in the games. [Pats them.] Now go join 
the lads on the race track for a while. Vie with one 


SOCRATES THE PHILOSOPHER 


147 


another and instruct each other. Then come back 
and we will stir up another argument. [ Boys shake 
hands and mix together .] 

Robert [holding back], I say, Socrates, is it true that 
you were a stone-cutter ? What made you give it up ? 
Socrates [laughing heartily']. Ha-ha! Quite true, my 
boy! [ Confidentially .] I gave it up because I found 
that I was a better hewer of men than stone. 
Xanthippe [comes on scolding ]. And is this the way 
you do my errands? I sent you to the market for 
fish for dinner! Might as well have sent you to the 
ocean to catch a whale. [Hustles him off, still scold¬ 
ing .] 

Note. This argument is taken mostly from Books II, III and IV 
of Plato’s Republic. It will not be necessary for pupils to memorize 
the words of the sketch in their entirety. A condensed copy may be 
held in the hand and, with thorough oral reading preparation, the 
player may give a thoughtful and deliberate rendering. The argu¬ 
ment should be clear, intelligent, dramatic and interesting. 










Cumjean Sibyl— Elihu Vedder 
























ROMAN TRADITION 


We admire the Greeks for their valiant advance from 
outworn tradition into a new order. While heroically 
attacking their moral and physical chimeras, the lively 
Hellenes evolved unity of race and language, and gained 
some understanding of man’s moral and mental quali¬ 
ties. They had inherited the alphabet, reading and 
writing, arts and crafts, from the older East, but they 
improved on all they received. Turning from lower 
worships they began to build a civilization upon reason 
and judgment, inspired by philosophy and glorified by 
art. The development of the Greek genius expressed 
itself in higher social, civic and artistic ideals—the 
Hero concept, philosophy, architecture, sculpture, 
origin of drama, classics of literature, physical educa¬ 
tion—all carried to standards which have not been 
surpassed. 

The Romans gave us the next chapter of Progress— 
the human race stepping out of mythological beliefs into 
the realism of the Historic Age. As Greece had faced 
the ancient East and struggled upward to maintain her 
Community of States, Rome now faced westward and 
advanced upon the unconquered, barbarous new West. 
The geography of Italy gave the Romans tremendous 
vantage and pressing on they shortly brought the wild 
tribes of western Europe into a semblance of law and 
order. 

The old tale told by Virgil of iEneas, who at the de¬ 
struction of Troy, wandered forth with his old father 
(Greek Tradition) on his back, to found the new city, 
149 


150 


FESTIVAL AND CIVIC PLAYS 


Alba Longa, is really not so much of a fairy tale as 
might appear. The Latins always acknowledged their 
inheritance of Greek ideals. Standing on the front 
doorstep of the world, the Romans had to be alert, 
practical, efficient, progressive. We are grateful to 
them for holding aloft the torch of wisdom handed on 
to them by the Greeks. 

The story of Roman adventure on land and sea is 
told in thousands of books. First the conquest of the 
primitive tribes, Etruscans, Volscians, Umbrians, Sa¬ 
bines—who left considerable savagery strewn along 
the path of the victorious Romans; the line of native 
kings beginning with the warlike Romulus; the good 
king Numa; the proud Etruscan Tarquins; the leaders 
of the early Republic; the host of young braves who 
arose to every need—Mucius, Horatius, Manlius, Cur- 
tius; noble women, Clcelia, Lucretia, Veturia, Cornelia; 
their great orators, generals, social leaders—Catos, 
Ciceros, Scipios, Gracchi, Caesars, bad and good Em¬ 
perors—from Augustus to Justinian; all these are writ¬ 
ten in our school books and are well known friends. 

Whatever her later history shows, we cannot forget 
that the grandeur of Rome and her worth to civiliza¬ 
tion sprang from a small group of shepherd-farmers, 
who from tribal customs evolved a high form of family 
and civic life; whose vigorous rural life produced men 
and women who never ceased to be interested in great 
causes and momentous issues. Over and above all her 
conquests on land and sea, Rome’s great achievement 
was organization and establishment of law and order 
in a hitherto lawless world, as her poets and scholars 
developed Latin into a basic language form. 


POMONA AND VERTUMNUS 


STORY OF THE SEASONS 


Pomona was an orchard nymph of Roman lore who loved gardens 
and fruit. Particularly did she love the trees that bore large and 
juicy apples. She was usually pictured carrying a pruning knife 
and accompanied by lively, dancing nymphs who assisted her in the 
care of her trees and vines. She was a great favorite and had much 
poetry written about her. 

Ovid the poet said of Pomona that “she cared not for forest and 
river, nor for wood and stream; but she loved the boughs that bore 
the thriving fruit.” As the goddess of horticulture, she typifies 
autumn, the season of ripened fruits. In many representations of 
Pomona she is shown carrying boughs or baskets of ripe apples or 
pomegranates. 

Vertumnus, the companion deity to Pomona, was the god of field 
product. He also symbolized the changes of season, and the trans¬ 
formation of bud and blossom into fruit. In the days of Roman 
power you would have found his statues decked out in the varied 
garb and coloring of the changing seasons. 

As the myth relates it, Vertumnus appeared to Pomona in many 
forms: as a ploughman in the spring; a reaper in the summer; a 
vine-dresser in the fall; and last of all as an old woman in the 
winter. Ovid speaks particularly of Vertumnus* power of transfor¬ 
mation and his quick-change mimes. The tale of Iphis and Anax- 
arete has been traced to Egypt. This adds a delightful story-telling 
touch to the play. 

The story of Pomona and Vertumnus is one of the few Roman tales 
which have a decided element of humor. It makes a spirited extrava¬ 
ganza and suggests pleasing repartee and gaiety, evolved in mock 
serious vein. The dialogue may be elaborated by a class of older 
girls if so desired. 


151 


V 


PEOPLE OF THE PLAY 

Pomona, goddess of orchard fruits 

Vertumnus, god of the seasons 

Old Woman, Vertumnus disguised 

Heba, Cara, Yera, Dera, LelaI hs 

Met,a, Bela and other Maidens ) y y 

Rustic, Old Silvanus, Satyr, Faun, garden helpers 


STAGING THE PLAY 

To be given with rustic setting-indoors or outdoors. 

Only one staging required. 

Place paling, gate and shrubbery to the left. 

Set tree with vine and Roman bench to right. 

An urn or altar shows through the vines at the rear. 
Rake, sickle, pruning hook, ladder, baskets stand about. 
Copy old Roman dress from plates and pictures. 

Study simple classic poses and action throughout. 
Treatment should be poetic as well as arch or comic. 
Maintain fanciful spirit. This is not a serious theme. 


152 



POMONA AND VERTUMNUS 

A Pastoral for Girls 

Enter [before curtain ] Rustic in goat skin, leading 
Satyr in vine wreath, clashing cymbals; long-eared 
Silvanus playing pan pipes; young Faun with tri¬ 
angle. They frisk about in circles, then stand as 
Rustic recites: 

Merry Thespians we, with pipe and reed and clattering heel. 

Our play today is both sad and gay— 

When done, to other gaping crowds we’ll haste away. 

Scorn not our tale, ’tis found in ancient lore. 

So oft retold—you’ve heard it all before. 

Smile with us, weep, rejoice; ’tis price enough. 

[All caper off as curtain rises.] 

Discovered: Pomona caring for her garden. Nymphs 
run on in a garland dance, laughing and singing to¬ 
gether. 

Pomona [ cheerfully ]. Come, come, my nymphs, we 
must be industrious today. All is overgrown, the 
fruit choking and our insect enemies making havoc. 
Lela, Mela, Dela, take you that end of the garden! 
Vera, Dera, Cara, come with me and we will restore 
order on this side! The others may trim the vines 
by the gate and pluck the grass from the path. 
But let there be no heads over the paling, mind you! 
Busy yourselves now, and there will be resting after¬ 
ward under the trees. 

Cara [to her mates]. I wish some visitor would come. 
[Looks slyly around.] 


153 


154 


FESTIVAL AND CIVIC PLAYS 


Vera. I wish Vertumnus would come. He always helps 
us. 

Pomona [severely]. There will be no visitors today. 
As for Vertumnus and his mimes—he likes your flat¬ 
tery, but he is already conceited enough. 

Dera. The first time he came as a plowman, but my 
lady had no plowing for him to do. 

Cara. Then he came as a reaper, and when our lady 
paid him he took her hand. You should have heard 
the rating she gave him. [Nymphs laugh slyly.] 

Vera. And the day he limped by as a vine-dresser I 
ran out and gave him a coin, he looked so pitiful. 
When I looked up, I saw it was Vertumnus! 

Dera. Our lady has forbidden his coming, but he will 
find a way. 

Group [on other side] . You chatter too much, you must 
work more. 

[Knocking at the gate] 

Dera [running to Pomona]. ’Tis but an old woman. 
She seems weary. Shall I let her in? [Looks up 
pleadingly .] 

Pomona. I know not whether we can have her in. You 
have not yet finished. 

Old Woman. Kind lady, Tis but to rest me a moment. 
I will not disturb your labors. [Tottering over her 
staff.] If I were young as once, I would help you. 

Pomona [to nymphs]. Seat her under the tree until 
we finish. [Nymphs support her to the seat. She 
leans back wearily, closing her eyes, while all fall 
back to work again. The nymphs hum a little song 
as they work busily.] 

Pomona [who has been trimming the vine about the 
tree]. Whither were you bent, good dame? 


POMONA AND VERTUMNUS 155 

Old Woman. I was on my way to the market in the 
village to buy food. But it is a far way for old bones. 

I thank you for this halt in your pretty garden. ’Tis 
the prettiest garden I have yet seen. [ Peering about.] 

Pomona. Yes, it is a pretty garden and well worth the 
care and labor we give it. The trees and vines are 
always laden with fruit. See the fine apples! I will 
have some plucked and we will refresh ourselves. 
Lela! Mela! Bela! Pluck us a basket of apples and 
grapes. Run Heba and prepare us a jar of delicious 
drink. W T e will all rest and refresh ourselves. You, 
too, shall share with us, my good dame. 

Old Woman. Thank you, fair ones. It is food and 
drink to gaze upon you. 

[All bustle around, remove tools. Fruit is set on a 
garden table; jar and ladle and bowls laid beside. 
The nymphs nestle at the feet of Pomona or find 
places on stools and benches about. The fruit and 
drink are passed, while a nymph takes a bowl and 
carries it carefully to the shrine, where she pours a 
libation. All relax and smile happily on one another .] 

Old Woman. You are indeed happy to be in such a 
place, surrounded by beauty and peace. Tell me, 
does no one invade your enchanted garden and try 
to carry off some of its treasures? 

Heba [pertly]. Indeed, old Silvanus often pokes his 
head over the paling and would make off with any one 
of us, if we would but let him. [Laughs.] 

Caka. Or some mocking satyr shows his horns over the 
gate. Only yesterday one came with a vine wreath 
wound around to cover him, trying to tease me. 

Veka. A darling young faun, with hoofs and horns 
scarce sprouted, baa-aa-ecl through the hedge last 


154 


FESTIVAL AND CIVIC PLAYS 


Vera. I wish Vertumnus would come. He always helps 
us. 

Pomona [severely]. There will be no visitors today. 
As for Vertumnus and his mimes—he likes your flat¬ 
tery, but he is already conceited enough. 

Dera. The first time he came as a plowman, but my 
lady had no plowing for him to do. 

Cara. Then he came as a reaper, and when our lady 
paid him he took her hand. You should have heard 
the rating she gave him. [Nymphs laugh slyly.] 

Vera. And the day he limped by as a vine-dresser I 
ran out and gave him a coin, he looked so pitiful. 
When I looked up, I saw it was Vertumnus! 

Dera. Our lady has forbidden his coming, but he will 
find a way. 

Group [on other side]. You chatter too much, you must 
work more. 

[Knocking at the gate] 

Dera [running to Pomona]. ’Tis but an old woman. 
She seems weary. Shall I let her in? [Looks up 
pleadingly.] 

Pomona. I know not whether we can have her in. You 
have not yet finished. 

Old Woman. Kind lady, Tis but to rest me a moment. 
I will not disturb your labors. [Tottering over her 
staff.] If I were young as once, I would help you. 

Pomona [to nymphs]. Seat her under the tree until 
we finish. [Nymphs support her to the seat. She 
leans hack wearily, closing her eyes, while all fall 
hack to work again. The nymphs hum a little song 
as they work husily.] 

Pomona [who has been trimming the vine about the 
tree]. Whither were you bent, good dame? 


POMONA AND VERTUMNUS 


155 


Old Woman. I was on my way to the market in the 
village to buy food. But it is a far way for old bones. 
I thank you for this halt in your pretty garden. ’Tis 
the prettiest garden I have yet seen. [ Peering about.] 

Pomona. Yes, it is a pretty garden and well worth the 
care and labor we give it. The trees and vines are 
always laden with fruit. See the fine apples! I will 
have some plucked and we will refresh ourselves. 
Lela! Mela! Bela! Pluck us a basket of apples and 
grapes. Run Heba and prepare us a jar of delicious 
drink. W T e will all rest and refresh ourselves. You, 
too, shall share with us, my good dame. 

Old Woman. Thank you, fair ones. It is food and 
drink to gaze upon you. 

[All bustle around, remove tools. Fruit is set on a 
garden table; jar and ladle and bowls laid beside. 
The nymphs nestle at the feet of Pomona or find 
places on stools and benches about. The fruit and 
drink are passed, while a nymph takes a bowl and 
carries it carefully to the shrine, ivhere she pours a 
libation. All relax and smile happily on one another.'] 

Old Woman. You are indeed happy to be in such a 
place, surrounded by beauty and peace. Tell me, 
does no one invade your enchanted garden and try 
to carry off some of its treasures? 

Heba [pertly]. Indeed, old Silvanus often pokes his 
head over the paling and would make off with any one 
of us, if we would but let him. [Laughs.] 

Cara. Or some mocking satyr shows his horns over the 
gate. Only yesterday one came with a vine wreath 
wound around to cover him, trying to tease me. 

Vera. A darling young faun, with hoofs and horns 
scarce sprouted, baa-aa-ed through the hedge last 


156 


FESTIVAL AND CIVIC PLAYS 


night, thinking to attract me. I threw water on him 
and he ran away. The Bona Dea preserve us! 

Pomona. Yes, indeed, there is one continuous proces¬ 
sion of suitors, but we want nothing of them but their 
friendship. They are all helpful to us, too, but of all 
none is more persistent than Vertumnus. 

Nymphs [in turn ]. Oh, he is young and handsomest of 
all, and so in love with our mistress that naught 
stands in his way. 

Old Woman. Pray tell me about Vertumnus. Why 
have you not encouraged him, if he is young and 
handsome and useful besides? I hear he likes the 
same things you do and delights in gardening, and 
handles your apples with admiration. 

Pomona [ laughing ]. His is indeed a difficult case. 
Under some guise or other he comes nearly every 
day. And many’s the day’s work I have had out of 
him, when he gets by the gate on pretext of vine¬ 
dressing, or reaping, or some other excuse. He looks 
so simple with a band of hay about his head that I 
can scarcely refrain from laughter. When he brings 
his pruning hook and ladder over his shoulder, I send 
him to the highest branches. Yet, we get good work 
out of him, all on account of his infatuation. 

Cara. He has a lively wit and is entertaining, as well. 

Old Woman. You are too stony-hearted. You should 
take a lesson from the vine [pointing to it] and from 
your numerous suitors, choose yourself a real tree. 

Pomona [laughing]. To twine and cling about. But 
it is the vine that bears the fruit. This tree offers 
nothing but useless leaves! 

Old Woman. That is what trees are good for, some¬ 
times. If the vine had no tree to support it, it would 


POMONA AND VERTUMNUS 


157 


lie prostrate on the ground. Do you know the tale of 
Iphis and Anaxerete—the suitor and the noble lady 
who ruined his life! 

Pomona [clapping her hands]. Hear ye, nymphs. A 
tale! A tale of unrequited love! Bring more fra¬ 
grant drink. We shall while away the noon under 
this shade while our good friend recites. 

Nymphs [settling doivn to listen] . Oh, we dote on tales. 
Let it be an affecting one, with tears. 

Another Nymph. Or make us laugh—gaiety is best! 

[Let the sentiment of the tale be somewhat exagger¬ 
ated.] 

Old Woman. My tale shall be an old but sad one, 
and take you all a lesson from it. Many years ago 
in Cyprus lived Iphis, a citizen youth, but of high 
courage, and suitor to Anaxerete, daughter of a 
noble. Iphis was a true lover. He not only besought 
his mistress with attentions, but wrote verses and 
hung garlands on her door. He spent hours on her 
threshold but uttered his plaints to bolts and bars. 
Anaxerete was distant as that mountain, hard as 
stone and fickle as the sea. She mocked and laughed 
at him. At last, when Iphis could endure it no longer, 
he said: ‘‘Enjoy your triumph, 0 Anaxerete! Bind 
your brows with laurels and sing songs of joy! Re¬ 
joice, oh stony-heart, I die! Come and feast your 
eyes on the spectacle!’ ’ Turning his face and weep¬ 
ing eyes toward her mansion, he fastened a scarf to 
the gatepost where he had hung many garlands 
[nymphs sob] and putting his head in the noose, he 
said: ‘ ‘ This last garland will please you well. * 7 He 
then threw himself forward, and with a groan fell 
dead! [Nymphs exclaim and hide their eyes , “Oh! 








Frieze of Dancing Nymphs 













































































POMONA AND VERTUMNUS 


159 


Oh!”] His friends cut him down and took him to 
his home. All said, “This is the work of the cruel 
Anaxerete.” When the funeral procession passed 
by the house of Anaxerete the next day, she heard the 
lamentations of the mourners, and said to her maids, 
‘ ‘ Let us see this sad procession! ’ ’ They mounted to 
the turret where, through an open archway, they 
gazed upon the funeral. [Nymphs look expectant .] 
Scarcely had Anaxerete’s eyes rested on the bier, 
when she began to stiffen. The warm blood in her 
veins grew cold. Endeavoring to step back, she 
found that she could not move or turn. By degrees 
her limbs became stony as her heart, and she stood 
there a cold statue. [More weeping. Pomona gazes 
transfixed .] That you may not doubt my story, the 
statue still remains and stands at this time in the 
temple of Venus at Salamis. This goddess loves not 
a cold heart, and gives punishment where it is de¬ 
served. [Spoken severely.] 

Pomona [wiping her eyes]. This is indeed a sad tale, 
and Anaxerete was far too cruel! 

Nymphs [echo]. Too cruel, far too cruel! [Some sob.] 

Old Woman [rising]. Take my word, my dear, if Ver¬ 
tumnus still loves you and has proved himself by 
service, accept him at once, since love repulsed is a 
dangerous thing. 

Pomona [standing and wringing her hands]. Oh, do 
you think Vertumnus will come again. Do you think 
he will still love me after I have treated him so badly? 

Old Woman [throwing off her disguise, and showing 
the youth Vertumnus in fine garb.] ’Tis I, Pomona, 
your Vertumnus; I love you and will never leave you 
again. [Pomona weeps in his arms.] 


160 


FESTIVAL AND CIVIC PLAYS 


Nymphs [ springing up and dancing about]. ’Tis our 
Vertumnus! Oh, joy this day! Oh Lady Pomona, 
yon will not let him suffer death as did Iphis. 
Vertumnus. Nay, nay! No one shall die now, but 
we will all work in the garden together and make it 
the most beautiful spot in the whole world. 

Pomona. Go ye now and dance, while we prepare the 
feast. [They gather wreaths and crown Vertumnus 
and Pomona and dance about them.] 

Note. The scene may close here, or the nymphs flitting about mak¬ 
ing decorations, may form a procession, the couple at the head, while 
Silvanus and the fauns come in, frolicking and playing on reeds and 
pipes. All exit in a processional. 



HOW CINCINNATUS SAVED ROME 


STOKY OF CINCINNATUS 


Cincinnatus belonged to the Patrician class of old Rome and was 
a model of all its virtues and customs. His real name was Lucius 
Quinctius, but he was called Cincinnatus by his soldiers because of 
his crisp red hair and his crisper temper. They all loved him for his 
honesty and leadership and would follow him anywhere. 

Cincinnatus lived in the days of the early Republic, after Rome 
had shaken off the yoke of the Tarquin Kings. Instead of a King, 
they placed two Consuls and Senators of their own choosing at the 
head of the government. When more help was needed, they called 
in a Dictator, who for the time being helped tide over affairs. 

Cincinnatus had been of great help to the Romans and was called 
three times to serve as Dictator. The last time he was eighty years 
of age. The date of our story is set at 458 B. C., and this was the 
second time he was called to this office. He was so efficient that in 
sixteen days he was back at his plow, with all the citizens plodding 
along at their regular business as usual. 

Many interesting things were developing at this time in Rome. 
While the Patricians were the ruling class, the Freedmen, who had 
gained their liberty, were pushing into the middle or Plebeian class. 
Many new laws had to be made and old ones changed. Most of 
the new citizens of Rome were illiterate, and they asked that the 
laws be written down, so that they could see them and have them 
explained. 

Cseso Quinctius, Cincinnatus’ own son, opposed this and was exiled, 
while his father was reduced to the little farm beyond the Tiber. 
The Decemvirs were now appointed and the laws were put into writ¬ 
ing and cut into Twelve Tables of Bronze. (See Story of Roman 
Law, p. 201.) 


161 




PEOPLE OF THE PLAY 


Cincinnatus, dictator 
Racilia, his wife 
Two Slaves 
Two Deputies 

CiNCINNATUS' tWO SOUS 

Messengers 

Legions 


Gracchus, JEquian chief 
Minucius, Roman consul 
Senators and Nobles 
Lictors and Soldiers 
Populace and Dancers 
Standard Bearers 
iEQUIANS 


STAGING THE PLAY 

A continuous action play staged with three curtains. 

Drop curtain opens on country life, field, trees, rude hut. 
Second curtain shows Forum, with pillars and broad steps. 
Third curtain, any scene with trees, mountain, tents in wings. 
Give entire stage to the soldier scenes. 

Arrange curtains and use in order of program. 

The Forum scene is dropped as Triumph emerges from the wings. 
First and third curtains found in usual school stage props. 
Second may be rudely painted on old canvas or paper. 

If played on a bare platform use screens and standards. 

For costumes study Costume Suggestions and Illustrations . 
Senators and City Officials appear in bordered togas. 

Citizens appear in long gray and white cloaks. 

Soldiers in short, belted kilts and high, laced sandals. 

Officers in armor, with corselet, helmet, greaves and spear. 

Much of the play is in pantomime. Drill on silent expression. 
Choose good speakers for the dialogue. Let speech be broad. 
Soldiers must work out their action carefully. 

Prepare Triumph for spectacular effect. 


162 


HOW CINCINNATUS SAVED ROME 


Junior Boys’ Play 

PRELUDE 

Discovered: Gracchus, chief of the 2Equians, sitting 
under a tent-flap with a scribe at his side, who is 
writing with stylus on a wax slate. Deputies from 
Rome arrive. 

First Deputy. Gracchus, we have come to complain 
of the ^Equians, who are plundering the lands of the 
allies of Rome. 

Gracchus [ looking up]. Why complain to me? I am 
busy with other matters and cannot hear you. You 
would better go tell your message to that oak yonder! 

Second Deputy. What insult is this! [Gracchus goes 
on with his work.] 

First Deputy. Let this sacred oak and all the gods hear 
how treacherously you have broken the peace 
[raising his spear], Rome shall avenge this insult, 
for you have scorned alike the laws of the gods and 
of men. [ They go off.] Curtain. 

SCENE I 

Discovered: Cincinnatus well to the left of the stage, 
just turning his primitive ploiv in the furrow facing 
right. Two Slaves with other implements and a 
basket of grain stand near. 

Enter Two Messengers from the right icing. 

163 


164 


FESTIVAL AND CIVIC PLAYS 


First Messenger. We seek Cincinnatiis. We come in 
haste from Rome. 

Cincinnatus. I am Cincinnatiis. What is your mes¬ 
sage? Why do you come here? 

Second Messenger. Hail to you, Lucius Quinctius! You 
are acquainted with the facts of the .^Equians, how 
they have broken the treaty of peace with Rome; 
marched into the land of Tusculum, plundering the 
country and gathering much booty, and even now 
have pitched their camp on Mount Algidus? 

Cincinnatus. I thought Minucius the Consul had 
marched an army against them; also another to stop 
their plundering! 

First Messenger. Of a truth this hath he done, al¬ 
though the Commons have hindered the levying of 
more soldiers. But another evil has come upon us: 
seeing their opportunity, a great host of Sabines 
have come well nigh to the city walls, plundering all 
the country about. 

Cincinnatus. This is indeed a dire evil. And what 
hath Minucius wrought upon the mountain? 

Second Messenger. Aye, good Cincinnatus, therein 
lies our plight. Minucius, delaying his attack, has 
been surrounded by the wily ^Equians, and now he 
can do nothing hut lie hid in his entrenchments. The 
enemy, growing bolder, has him surrounded on all 
sides. But there escaped from his camp five horse¬ 
men who brought the tidings to Rome. 

First Messenger. Yes, sir, the people are in great fear. 
In looking about for help, they see but one man who 
can save them from this peril—thyself, Cincinnatus! 
By common consent, therefore, they have elected thee 


HOW CINCINNATUS SAVED ROME 


165 


Dictator for six months. For, they say, what are 
riches to be accounted against a man who can lead 
us out to victory and to the honor of Rome! 

Second Messenger [saluting]. May the gods prosper 
this thing to the Roman people and to thee! Put on 
thy robe and return with us to Rome, to hear the 
words of the people! 

Cincinnatus [in great astonishment]. The gods are 
calling me hack to the service of my country! [Calls.] 
Ho, there! Wife, Racilia! Bring forth my robe and 
scrip for a journey! 

Racilia [appearing with toga and sandals]. What is 
this! Thou art called to Rome! Now they are in 
trouble, they want you back again! [Slaves bring 
urn of water and large towel,] 

Cincinnatus. Nay, nay, wife, thou knowest I must 
serve my country always! 

First Messenger. The people of Rome have made him 
Dictator and bid him come forth to save the city. 

Racilia [shaking her head], I have not forgotten 
Caeso, and how they stripped you of all but these 
few poor acres. 

Cincinnatus [while making ready]. Do thou keep the 
place, good Racilia! I will not be gone long. The 
gods will prosper the truth of our cause. Take thou 
charge of affairs, nor let the slaves lag. [Kisses her 
brow. Turns and follows Messengers.] Curtain. 

SCENE II 

The streets of Rome before the Forum. Cincinnatus is 
first met by his Two Sons in armor; also Kinsfolk, 
Friends, Nobles, Lictors. Crowds of people press 


166 


FESTIVAL AND CIVIC PLAYS 


about from the wings. Cincinnatus stands in the 
foreground of the Forum. 

Cincinnatus. Greetings, my sons! I see yon are ready 
for action. [Kisses their brows]. 

Sons. Yes, father, where you send us, we will go. [They 
step behind him.] 

Cincinnatus. I see, good friends, you are all with the 
cause! [Shouting, “Yea, yea.” Groups of Lictors 
march before him.] Lucius Tarquinius! I ap¬ 
point thee to be Master of Horse. Take thou com¬ 
mand of this Legion and march forward! [To the 
Soldiers assembling in the square.]* Assemble in 
the Field of Mars! Let every man of age be there at 
sunset with provision for five days and let him bring 
twelve stakes. Let the elder men prepare the food, 
while the young men make ready their arms! Take 
leave of your families, and speed to their protec¬ 
tion and the succor of our friends. Curtain. 

*Note. This was the usual preparation of the Roman army. 

SCENE III 
Evening at Mars Field 

Discovered: Cincinnatus, standing in the center, giv¬ 
ing last directions to the Legions, who are assem¬ 
bling under the Standard Bearers. All are in short 
tunics, sandals and bound legs, helmets on their 
heads, carrying spears and shields. There is much 
noise and clashing of armor. Gradually order is 
restored. 

Cincinnatus [also in armor and cloak]. Attend to 
my words! We must needs come to our journey’s 


HOW CINCINNATUS SAVED ROME 


167 


end while it is yet night. Remember that the Consul 
Minucius and his army have been besieged for three 
days and that no man knows what a day or a night 
may bring forth! Let all proceed now to Mount 
Algidus! Standard Bearers, make haste and lag 
not, that we may arrive by midnight! And when you 
perceive the enemy at hand, halt your standards, 
every man in his own place! Then compass the 
enemy’s army with our army! Then dig you trenches 
and set up stakes therein! When this is done, shout 
over the camp of the enemy to our countrymen, 
that they may know that we bring them help! Then 
will they attack from within, while we harry them 
from without! It will not be long till the beggars 
pray for peace. Now away! Depart in quiet, and 
every man look to his prowess and the honor of 
Rome! 

[Under direction of their leaders, Legions march with 
stealthy movements to side of stage. The interest 
may he sustained here by the crossing and recrossing 
of the same groups, then slowly assembling them in 
circling lines at the rear of the stage. The lights 
should be dim, leaving the lower stage in darkness 
to hide the soldiers. The shouts must be answered 
from the back of the stage, followed by the noise of 
battle. Cries and struggling masses gradually come 
nearer. The final struggle will take place at the back 
of the stage, dawn showing groups of vanquished 
J^quians, with ambassadors suing for peace, bring¬ 
ing their standards. Cincinnatus, with folded arms, 
stands to receive them.] 

Gracchus. You have prevailed! Slay us not! Rather 
permit us to depart, leaving our arms behind us! 


168 


FESTIVAL AND CIVIC PLAYS 


Cincinnatus. I care not for the blood of the iEquians! 
Ye may depart! But ye shall depart under the yoke! 
Ye shall acknowledge to all men that ye are indeed 
vanquished. [To his soldiers .] Get ready the same. 
[They hind a spear across two standing ones, thus 
forming the yoke.] [To Minucius, who appears from 
the side.] I understand there is much spoil. Ye were 
well nigh a spoil to the enemy, therefore ye shall not 
share in this. 

[Shouts from the Soldiers: “Long live Cincinnatus, 
our Dictator!”] 

Messenger. The Senate hath sent word to make ready 
to appear in a Triumph at Rome! 

Cincinnatus. Make ready the spoils! Fetter some 
of the prisoners! Let the others pass under the 
yoke! 

[The prisoners are sent under the yoke , while the sol¬ 
diers of Cincinnatus again assemble under their 
banners and leaders. The Forum curtain is here 
lowered. A Roman public assembles in the fore¬ 
ground — Senators and Lictors, Nobles and Ladies 
mingle with the people to view 1 the Triumph amid 
shouts and cheers.] 

Cincinnatus [at close of festivities]. And now, 
friends, since Rome is safe, I will leave the punish¬ 
ment of its enemies to the City Fathers, and Sen¬ 
ators! I will return once more to my home and 
farm, which sadly need my attention. 

People [shouting]. All honor to our Dictator, the 
Savior of Rome! All hail to Cincinnatus! Hail! 
Hail! [Curtain.] 


HOW CINCINNATI!S SAVED ROME 


169 


Note. The early Romans were very good shepherds and farmers, 
but often had to go to war to protect themselves from their savage 
neighbors. This spirit of self defense soon won the respect of their 
enemies and made a warlike people of the Romans. As we know, 
they finally became so skilled in warfare that they conquered the 
world. Mars, the famous war god of the Romans, was also the god 
of agriculture in their earliest history, and they constantly called 
upon him for aid in the care of their flocks and fields. The old Latin 
paganus, or farmer, was deeply concerned with the welfare of his 
crops and family. One of his old prayers read: 


And thou, 0 Mars, suffer not 
Fell plague and ruin’s rot 
Our folk to devastate. 


ROMAN TRIUMPH 
A simplified form is here presented. 

Magistrates and Senators stand in the Forum to receive victors. 
Two Arval Priests advance, beating on their shields. 

Pipers follow with chorus singing lo Triumphe: 


Only Rome and Rome alone, 

Only Rome eternal stays. 

Eja, Eja—Alala. 

Lictors dressed in purple tunics, with axes, precede General. 

General in red toga and laurel crown, in car drawn by soldiers. 

Sons, relatives, secretaries, armor-bearers follow General. 

Carts filled with spoils and the armor of the enemy. 

Soldiers follow these, carrying armor and spoils. 

Captives in chains—men, women and children in strange dress. 

An interesting and realistic picture of Roman life may be displayed 
in such a procession. As it passes before the officials, it may be led 
down over the stage into the aisles, in this way making a pageant for 
the spectators. 

Cincinnatus should return to the stage and make his last speech 


170 


FESTIVAL AND CIVIC PLAYS 


from there. Great enthusiasm should be displayed by the people in 
the procession. 

Note. In our own country after the Revolutionary War an Order 
of Cincinnatus was established for soldiers returning home to the 
farms and plantations. Washington was its first president. 



FOUR SHORT ASSEMBLY PLAYS 


CLCELIA THE ROMAN GIRL SCOUT 

The struggle with the Tarquin Kings lasted for many years after 
they were driven out of Rome. One of the fine stories of the times 
is that of Cloelia, a high-spirited Roman girl and her companions, 
who were sent as hostages into the camp of the enemy. She revolted 
and persuaded her companions to escape by swimming the Tiber. 
They returned to save the honor of Rome. 

This story will be of interest to Campfire Girls, to whom Cloelia 
stands for a type of courage and loyalty. 

THE CHOICE OF CORIOLANUS 

The story of Coriolanus is one of the most touching in Roman his¬ 
tory. He represented the highest type of Roman youth, dauntless 
and ready to sacrifice himself for his country. He also had the 
highest ideals of citizenship. But Rome at that time was struggling 
with the masses who did not understand him. 

The cheap politicians of Rome advocated free corn for the people, 
in this way encouraging all sorts of evils. With free corn, the poor 
became beggars and often criminals, taking by force that which was 
not given them. Coriolanus wished them to work, to remain self- 
respecting citizens, and to help build up the Roman state. He had 
a hard struggle between his loyalty and his pride. 


CAMILLUS AND THE SCHOOLMASTER 

The Romans were harsh and unrelenting in many things, but they 
had a strong sense of justice, and often turned an act of injustice 
against the evil doer. This story of the great general is a fine lesson 
showing how a bad deed comes back upon the doer. 

The best part of the story tells how two warring peoples became 
friends. This could be shown in a scene between the ambassadors 

171 


172 


FESTIVAL AND CIVIC PLAYS 


sent to Camillus, offering him any terms he wished, after his stand 
in regard to the school children. A keen sense of honor and right 
dealing is necessary to all leaders and rulers. 

TRAJAN AND THE CHILDREN OF ROME 

Trajan was the second of the Good Emperors of Rome, who tried 
to correct some of the evils of the wicked ones who preceded them. 
One great wrong was the neglect of the soldiers’ families, who were 
often reduced to beggary, while the fathers were away on long cam¬ 
paigns, fighting for the glory of Rome. 

Before this all teaching and learning had been confined to the upper 
classes. This effort on the part of Trajan is the first record of Pub¬ 
lic Schools in Rome. Fortunately for us, relief pictures showing 
crowds of these children were inscribed on tablets and set into street 
panels. Later these were placed in the carvings of the Forum Tra- 
janum, erected in honor of Trajan. 


CLCELIA THE ROMAN GIRL SCOUT 

PEOPLE OF THE PLAY 

Clcelia, Maia, Octavia, Valeria and other Roman girls 
Mothers, first and second group 
Fathers, first and second group 
Lars Porsena, Soldiers and Guards 

STAGING THE PLAY 
Bare stage or floor space with a tent to one side. 

Take off tent when Clcelia arrives in Rome. 

Return first tent and add larger General’s tent for last scene. 

All costuming and equipment should be crude but suggestive. 
Action must be strong and decisive, leaning to the primitive. 


SCENE I 

Discovered: Girls sitting dejectedly about. 

Maia [weeping violently ]. I want my mother! I shall 
die if I stay here longer. 

Octavia. Hush, for shame! Don’t you know we are 
the hostages for Rome! 

Clcelia. Why must we be hostages for Rome! This 
is not our war! I shall endure it no longer. I shall 
not live a captive! 

Valeria. Can we not he patient! It will be only for a 
little longer, when they will make peace and we shall 
be sent for. 

Clcelia. No, we shall not stay. I see a way to escape. 
We shall swim the Tiber! At dusk, when the soldiers 
are at supper, we will risk it. We can all swim and 
all who wish can this night return to their parents. 
Who will join me! 


173 


174 


FESTIVAL AND CIVIC PLAYS 


All. Hush, hush! The soldiers will hear us! Do you 
think that we could reach the other side? [ Whisper¬ 
ing eagerly among themselves.'] 

Clcelia. It will take courage, hut the river is quiet. I 
have swum the Tiber before. I will be your leader. 
Curtain. 


SCENE II 

A hare stage. Roman Mothers and Fathers come on 
from the left, girls rush on from the right and fling 
themselves into their arms, crying out. 

First Mother. What is this? Here are the children 
back from the enemy’s camp. 

Second Mother. My child—my child, are you safe? 
How did you escape? 

Cloelia. We swam the Tiber! I led them and here 
we are. How good to be at home! 

First Father. Did they not treat you well? You were 
not injured in any way? 

Second Father. Children, do you know you have 
broken the word of Rome ? 

First Father. You must return at once, before you are 
missed, or we shall be plunged into war again. Could 
you not wait until peace was arranged? 

First Mother. Indeed, you must go hack at once! Oh, 
the woe of this terrible war. [Clasps her child.] 

Clcelia [ slowly and sullenly]. I did not think of the 
honor of Rome. We only longed for home and our 
mothers. I will return and tell the King that it was 
my fault, and not the fault of Rome, or of our fathers 
and mothers. 




CLCELIA THE ROMAN GIRL SCOUT 


175 


First Mother. Poor children! They are tired and 
hungry. Let them sleep and eat. They were only 
homesick. 

Clcelia. Feed us and let us sleep first. Then, at dawn, 
we will breast the Tiber again and return to camp. 
[All turn off. Curtain.] 

Let the class dramatize the last scene of the return to camp, and 
Cloelia’s appearance with the girls before Lars Porsena; his aston¬ 
ishment and delight at their bravery; his generosity when he learns 
the good faith of Clcelia and the parents at Rome. Keep to terse 
English and direct action, with perhaps three developments: 1. Re¬ 
gret and submission of the children; 2, the generosity of Tarquin; 
3, joy of the children at being forgiven. A little exercise on play 
construction is good fun as well as good practice. 


THE CHOICE OF CORIOLANUS 


PEOPLE OF THE PLAY 

Coriolanus (Marcius), young patrician 
Veturia, his mother 
Consul and Roman Soldiers 
Tribunes and Plebeians 
Messengers, Priests, Soldiers 
Virgilia, wife , and Sons of Coriolanus 
Mothers of Rome 
Guards, Citizens 

STAGING THE PLAY 

A shore sketch suitable for special occasion, as Mothers’ Day. 

Set the stage as a porch outlined by two Roman pillars. 

The porch should be placed to the right of the stage. 

Veturia steps out onto porch, looking anxiously about. 

Martius comes on from the left and joins her. 

Only the skeleton of the story is presented. 

Class may amplify, if it is desirable. 

Motivate by discussing various types of loyalty. 

PRELUDE 

Marcius [Coriolanus]. Mother, have yon heard of our 
success! Rome is again victorious in the face ‘of 
defeat. 

Veturia [putting her hand on his shoulders and look¬ 
ing at him proudly ]. I have heard. It was a daring 
thing to do, my son. 

Marcius. We kept the gates open with a handful of 
men until the army came. See the prize—the gold 
crown! Crown me with it. [ Kneels on step . She 
puts the-crown on his broiv and he rises.] 

176 


THE CHOICE OF CORIOLANUS 177 

Veturia. The gold crown—the crown of glory—the 
noblest gift of Rome! [Consul, with a few Soldiers, 
pushes on from the left of the stage , bringing booty. 
Marcius steps up onto the porch with his mother, 
who moves a little to the rear.] 

Consul. The Senate has ordered ns to bring you a 
tenth of the booty from the Volscians, in token of 
your service and valor. 

Maricus. But I have already been given a splendid 
war horse. I wish no payment for doing a soldier’s 
duty. I will ask one favor, though, that you set free 
the generous Volscian who gave me a cup of water 
in the thick of the battle. [Soldiers cheer.] 

Consul [ turning to Soldiers]. It is idle, fellow sol¬ 
diers, to force these gifts upon one who is unwilling 
to accept them. Let us therefore give him a gift 
which he cannot well reject. [ Raising his right hand.] 
In memory of the taking of the city of Corioli, hence¬ 
forth be known as Coriolanus. [ Cheers from all.] 
Veturia [ stepping forward]. No longer Marcius, but 
Coriolanus, art thou named. [Pause. Exeunt Sol¬ 
diers to the left and Coriolanus and his Mother to 
the right.] 


SCENE I 

Enter Consul with Soldiers. Other Citizens gather 
about. Coriolanus comes on from the right , clad in 
a white toga and his gold crown. 

First Citizen. Here comes Coriolanus. He is also 
candidate for the Consulship. 

Second Citizen. I shall not vote for him. Do you not 
remember that he was against the free corn? [They 
murmur among themselves.] 


178 


FESTIVAL AND CIVIC PLAYS 


Consul. Citizens, we are met here today to vote for 
Consuls, as is the custom. Coriolanus, are you a 
candidate! What are your credentials! 

Coriolanus. Those of every citizen of Rome, loyalty 
and service. [Shows a ivound on his arm.] I won 
this among the Volscians. I would serve the Roman 
people justly. 

Plebeian. Hear, hear! Did he not oppose free corn 
when we were all starving after the wars! 

Citizen. He would make us pay for the Etruscan corn, 
when it was sent us for a gift. Eorsooth, he would 
‘ i serve the people! ’ ’ 

Plebeian. He is a Patrician and would do away with 
our Tribunes! [ Crowd shouts, “Ah!”] 

Coriolanus [looks about him in surprise]. Have the 
citizens of Rome become beggars-! If ye must be fed 
from the public dole, then give up your Tribunes, who 
represent you as citizens. Ye cannot be both wards 
and citizens! 

Plebeian. Hear him, hear him! The Patrician who 
would grind us under his heel! We will not vote for 
him. Away with him—he is not our choice! 

Coriolanus [proud but broken ]. Then will I no longer 
be a citizen of Rome. Are ye become a pack of 
wolves, with your new freedom! Your Tribunes are 
making you into Plebeians indeed, instead of proud 
Roman patriots. 

Tribunes [in a fury]. Banish him—banish him—he 
is not a friend of the Roman people. [Aside.] We 
will accuse him of having broken the sacred laws, and 
we ourselves will pronounce sentence upon him! 
[Gesticulating.] 


THE CHOICE OF CORIOLANUS 


179 


Coriolanus. Indeed! Sentence shall never be pro¬ 
nounced upon me by the Plebeian Tribunes of Rome. 
I leave you now. I have better friends among the 
enemies of Rome than ye Romans are to me. [Turns 
proudly and exit.] 


SCENE II 

Coriolanus has appealed to the Volscians and they 
are advancing with an army under him, to attack 
Rome. The Senate sends Messengers to make peace 
with him. A small tent has been set up to the right 
of the stage with Two Guards before it. 

Enter Messengers. 

Messengers [as they are turned away by Guards]. He 
will not even see us, much less listen to our terms of 
peace. 

Priests [walking on in solemn procession, to attempt 
to appease Coriolanus * anger]. He is deaf to the ap¬ 
peal of the messengers of the gods. We must perish. 

Messenger. Send for Veturia, his mother, Virgilia, his 
wife, and his two sons. Naught else will awaken 
him. 

[Veturia comes on right, dressed in mourning, fol¬ 
lowed by Virgilia and her Sons. Roman Matrons 
follow and stand waiting. A Soldier announces them 
to Coriolanus.] 

Guard [raises tent-flap and salutes ]. My lord, your 
mother is in camp and wishes speech with you. 
[Steps back.] 

Coriolanus [in dress of Roman General, steps forward 


180 


FESTIVAL AND CIVIC PLAYS 


as Veturia approaches ]. Mother! [ Reaches out to 
salute her; she brushes him aside.] 

Veturia [falling on her knees]. Am I the mother of 
Coriolanus, or am I a prisoner in the hands of the 
Volscians! 

Coriolanus. I am your son always, though Rome dis¬ 
owns me as her loyal subject. 

Veturia [to Virgilia and his Sons]. I bring your wife 
and sons. Will you dishonor them in the eyes of 
Rome! My son, my son! Are we your enemies or 
your friends! 

Virgilia [falls weeping at his feet]. Save our city, 
Rome—give her not over to her enemies—for your 
sons’ sakes. [Women crowd up and add their peti¬ 
tions.] Save us—save Rome from the enemy—save 
our city! 

Sons. Father—father! Save us all from death. 

Coriolanus [stands with head sunk on his breast. 
Finally looks at Veturia]. Mother, thou hast 
saved Rome, but thou hast lost a son. Farewell. 
[Hold the picture for a moment. Either drop cur¬ 
tain or let Coriolanus turn and go to his tent. The 
others rise and pass slowly off stage.] 


CAMILLUS AND THE 
SCHOOLMASTER 

PEOPLE OF THE PLAY 

Camillus, Homan general 
Soldiers, his guard 
Schoolmaster and Boys 
Nurse and Falerian Mothers 
Falerian Citizens 

STAGING THE PLAY 

Only one setting- with movable props needed. 

Turn the staging of the play over to pupils. 

Place competent pupils in charge of changes. 

Contrast the attitudes of Camillus and the Schoolmaster. 

Camillus [standing in the door of his tent , left stage, 
looking toward the city of Falerii ]. Ho there, guard! 
Every day, as I sit in my tent at this hour, an old 
man brings a group of boys to play on yonder hill. 
Guard. It is an old Schoolmaster out with his boys 
for a game after the lessons are over. 

Camillus. He seems unaware that he is near the ene¬ 
my’s camp. 

Guard. One of the soldiers spied on him. He said he 
was harmless and unarmed. We have watched him, 
but have not reported the matter. 

Camillus. The boys play heartily and without fear. 
For the present we will not molest them. Send my 
secretary to take some messages. [Secretary comes 
with stylus and wax tablet. He writes busily. Camil¬ 
lus dictates.] 


181 


182 


FESTIVAL AND CIVIC PLAYS 


Boy [voices of boys at play are heard nearer at hand ]. 
I can hurl the stone farther than thou. 

Another. See that thou dost not hurl it into the Gen¬ 
eral ’s tent. 

Another. Our Master says he is kind and will not 
hurt us. 

Another. We shall visit him some day, soon, the Mas¬ 
ter says. 

Guard [ salutes ]. General, I would not interrupt your 
work. But the Schoolmaster seems to be drawing 
nearer with the children. 

Camillus. Let him come! Wliat can be his object? 
[The boys burst on .] 

Schoolmaster [to Guard]. I would speak with your 
General on matters of importance. 

Guard [ salutes ]. The Schoolmaster would speak with 
the General. 

Camillus. Is this a plot ? Bring him on. 

Schoolmaster [ secretively ]. General, I have brought 
you the children of Falerii. With them in your 
power, you will soon be able to make what terms you 
please with the parents. 

Camillus [looking him over scornfully ]. War is in¬ 
deed attended with many evils besides violence. 
What would you that I do to them? 

Schoolmaster. Hold them. The Falerians will give 
up their city without a struggle to get their children 
back again. 

Camillus. Certain laws, however, all men must ob¬ 
serve. Even war itself does not pardon base and 
impious acts. A good soldier relies on his own valor 
and not on the treachery of a knave. 


CAMILLUS AND THE SCHOOLMASTER 


183 


Schoolmaster [ trembling ]. I did it for thy benefit. 
Thou wilt not punish me? I love not the Falerians. 

Camillus. Thou hast betrayed a sacred trust, and for 
this deserve worse than death. However, let your 
Masters take care of that. Ho, guards! Take this 
man and bind him. [The boys have been looking on 
wonderingly.] 

Boy. What is the matter with the Master? You will 
not hold him prisoner? He said you were a kind 
General. 

Camillus. Come here, lads. This man would betray 
your city and you into slavery. What shall we do 
to him ? 

Boy. He deserves to be beaten. We must go back to 
our parents. 

Camillus. Here, men. Cut rods for the boys and let 
them beat him back to the city. [Excitement among 
the boys, who beat the Master off the stage.'] 

During the commotion the tent and other properties 
may be removed and a few Matrons and Nurses 
appear. 

Matron. I wonder where the children are? I trust 
they have not wandered toward the camp. 

Nurse. I have watched the Master day by day, taking 
them a little nearer the enemy. I like it not! 

Matron. He is an alien. You do not think he means us 
harm? 

Other Matrons. Our children, our children! They are 
without the city walls, and nowhere in sight! [Others 
come on lamenting.] 


184 


FESTIVAL AND CIVIC PLAYS 


Nurse. I think I see them coming. They seem to be 
running merrily enough. 

Matron. What is this they are driving and beating! 
It cannot he the Schoolmaster! [He comes on stage, 
the children heating him.] 

Boys [exclaim in turn]. He is a traitor! He took us 
to the Roman camp! He would have betrayed the 
city and made us prisoners! 

Nurse. The gods protect us! And how did you escape ! 

Boy. The kind General was angry with the Master and 
gave us rods to beat him with. He said no harm 
should come to us. 

Falerian Citizen [just arrived]. For this we will send 
Ambassadors, giving Camillus whatever terms he 
asks. He is just and generous. [To a Soldier.] 
Take this traitorous coward and throw him outside 
the city walls. Let him meet what fate he will. 
[Schoolmaster hurried off.] 

Boys. We liked the Roman General and we hope you 
will make friends with him, that we may visit his 
camp and thank him. Long live Camillus! 
[Exeunt all.] 


TRAJAN AND THE CHILDREN 
OF ROME 


PEOPLE OF THE PLAY 

Roman Mother of the people 
Roscius, Marcus, Carus, Tito, Varro, 
ragamuffins , street children 
Three Citizens and the crowd 
Emperor Trajan and Plotina, his wife 

STAGING THE PLAY 

Short sketch suited to small schools of all grades. 

Only one setting required, showing the streets of Rome. 

Older pupils and teachers take the heavier parts. 

Children of lower grades take minor parts and walk in processional. 
Let players assist with properties, costumes and staging. 

See Cincinnatus play for Roman street scene and processional. 
Discuss the attitude of Trajan toward the people. 

Enter Roman Mother with two boys 

Mother. There, sit down in the shade and we will copy 
our letters before the sun shines hot. 

Roscius. Why do we need to do this, Mother? [Point¬ 
ing to his scroll.] 

Mother. All Roman citizens must now learn to read 
and write. [Looks around.] Where are the chil¬ 
dren? Ah, here they come; Marcus, Carus, Tito, 
Yarro, and you have brought others with you? 
Marcus. Yes, we all want to learn to write and be 
citizens. 

Mother. That is good. I see Carus has brought his 
tablet and stylus. 


185 


186 


FESTIVAL AND CIVIC PLAYS 


Carus. My grandfather says I must learn all that you 
teach me, that I may become a Tribune and help the 
people. 

Tito. See, I have no tablet, but can write in the clay of 
the street. 

Varro. I shall he a soldier like my father was, and 
win victories. 

Ragamuffin. Yes, and get killed. Or be eaten by wild 
beasts. 

Mother [ stepping forward ]. Let us not quarrel; re¬ 
member your pietas, gravitas and veritas. What is 
the commotion down the Via? See the crowd! 

First Citizen. It is he! It is Trajan! It is two years 
since he was named Emperor and we have not seen 
him yet. [Develop action .] 

Second Citizen. He is a true soldier and could not 
leave the Colonies unfortified. 

Crowd [pushing on]. Hail, Hail! The Emperor comes 
at last! A Triumph, a Triumph for our great gen¬ 
eral! [Shouting by all.] 

Enter Trajan and his wife Plotina in citizen dress . 

Trajan. Hail, friends! It is good to be back in Rome 
and to see your faces again. But why this noise 
about a Triumph? Men do not ask honors for doing 
their duty. 

Third Citizen. But you are Emperor now, and all 
Rome has been waiting to celebrate your victories 
and do you honor as ruler. 


TRAJAN AND THE CHILDREN OF ROME 187 


Trajan. I have come home to be your friend and rest 
after the wars. It will be time enough for a Triumph 
when we have proven what we have been worth to 
Rome. What have we here? [Plotina has stepped 
over to the Mother and the Orphans who crowd 
around her.] 

Plotina. These are the poor orphans of the soldiers, 
who fought so faithfully for Rome. This good 
woman is teaching them. They have no parents, 
food or homes. 

First Citizen. Alack! Rome is full of such as these. 
We haver almost more beggars than citizens. Here 
is where we need help. 

Trajan. See, Plotina. It is well we entered Rome 
humbly on foot. Of wliat use are all the laws made 
by the Senate for distant barbarians, while our sol¬ 
diers , children are starving? 

Plotina [ petting the waifs, she takes up a baby]. Poor 
little ones! These are the orphans of Rome and she 
must be their father and mother. You must all help 
us. 

Mother. Great lady, there are many of these. Can 
we not get them shelter and food, and make good cit¬ 
izens of them? 

Children. Yes, yes! Give us bread, we are hungry. 
Did you bring our fathers back? We’ll be good 
Romans! 

Trajan [looks helplessly about]. Come, come—this 
will be our first Triumph. Go out, friends and 
gather in the waifs of the city and bring them to the 


188 


FESTIVAL AND CIVIC PLAYS 


Forum. We will build a new Forum Trajanum and a 
Triumphal Column to record the acts of this day. 
[Trajan takes a boy by each hand; Plotina folloivs 
after with the babe on her arm; after her comes the 
Mother with the waifs, all the other characters fol¬ 
lowing. Amid cheering a procession is formed. A 
group of little girls may proceed scattering flowers; 
all march about room.] 




CORNELIA THE MOTHER OF 
THE GRACCHI 


STORY OF CORNELIA 

The story of Cornelia and her sons is one of the most thrilling 
in Roman history. The characters are all real people who did real 
service for their country, in a cause which often meant death. Cor¬ 
nelia was the type of Roman matron which has come down to us as 
the highest ideal of virtuous womanhood. 

The Cornelia gens, or family, was one of the best of the latter 
days of the Republic. Cornelia was the daughter of the great gen¬ 
eral Scipio Africanus. She married one Sempronius Gracchus, a 
Plebeian of fine qualities. This marriage broke the Patrician line. 

Cornelia, too, reared her own sons, instead of passing them over 
to slaves. The care of her children was not the least of her duties; 
Cicero says of her that her sons were “brought up no less truly in her 
language than in her arms.” From their birth she prepared them 
for their civic duties. 

The Roman household was a busy one, which, like our pioneer 
homes, attended to the production of the staples as well as the lux¬ 
uries of life. This meant among other things the direction of a large 
number of servants in spinning and weaving. Emperor Augustus 
preferred a robe spun and woven by the women of his household. 

The two Gracchi inherited the political views of their father and 
the Patrician training of their mother. They were both high-minded 
and democratic. A climax of the Plebeian cause seemed to center 
in these brothers, who were well prepared to meet it, the younger one 
taking up the burden where the older laid it down. 

Tiberius (168-133 B. C.) served as Questor under his grandfather 
Scipio in Spain. On his return to Rome he saw the degraded con¬ 
dition of the poor; farmers without farms, tilling the fields of the 
rich; crowds of slaves; citizens sold for debt; the thronging rabble 
of the city. He brought about a reform by restoring the old Licinian 
Laws, which gave the poor the use of State Lands. Caius advocated 
colonization. 


189 


PEOPLE OF THE PLAY 


Cornelia, Roman matron 
Aquilia, Roman lady 
Tiberius Gracchus ) _ 

Caius Gracchus forneha’ssons 

Scipio Nasica 


Livius Drusus 
Magistrate and Lictors 
Senators and Plebeians 
Rilla the maid 
Servants and Slaves 


Mob, Beggars, Soldiers 



STAGING THE PLAY 

Three short plays in one, which can be staged separately. 

Two settings only required: Roman garden and Forum. 

Detail of garden calls for Roman bench, vase, trellis, fountain. 
Approach to Forum requires platform, steps, pillars and cornice. 
Paint columns and cornices on canvas and stretch on frames. 

All properties must be adjustable and easily moved. 

Properties should be placed in charge of a responsible committee. 
Hold each actor responsible for costume and character detail. 
Players should dress, speak, act in a manner suitable to the parts. 
Roman dignity of speech and manner must be sustained throughout. 



CORNELIA THE MOTHER OF 
THE GRACCHI 

Senior Play 

FIRST PLAY 

Discovered: Cornelia standing to right of stage , di¬ 
recting the work of her household. Maids are spin¬ 
ning from distaffs, winding wool, weaving on frames. 
Slaves carry baskets, fold cloth. Two half-grown 
Boys are bouncing a ball to left front. Cornelia is 
dressed in fine robes, with a touch of lavender; Maids 
in medium blues; Slaves in rusty browns; the Boys 
in white, with short, belted tunics. All except the 
Slaves wear sandals. A Maid brings her work for 
inspection. 

Cornelia. That is better. Let us hasten to finish the 
Master’s cloak. He likes best the garments woven 
by his own household. Then Rilla may take it to the 
fullers. Let me see the new wool brought from the 

country. . 

Rilla [coming forward ]. It just came m this morning 
and has not yet been washed. The man is waiting 
his fee, Domina. [Cornelia gives her a gold piece.] 

Cornelia. Go at once and pay him. Give the wool to 
old Dura to take to the wash room. 

Slave [kneels before her ivith a basket of meal]. 
Domina, is it ground to please you? 

Cornelia [sifting the meal through her fingers]. Yes, 
it is very fine. Bake it into cakes for our guests to¬ 
night. [She turns as a slave at her left says, A lady 


191 


192 


FESTIVAL AND CIVIC PLAYS 


to call. ” Cornelia claps her hands.] Take away 
your work. We will receive her here. [ The Maids 
remove *the work to the rear and set furniture in 
order, placing Roman bench to the front; one Maid 
brings her mistress a soft purple scarf, arranges 
flowers, etc. Cornelia stands facing left front.] 

Enter Aquilia, gaily attired in a gold bordered, flow¬ 
ing scarlet robe. A profusion of jewelry hangs from, 
her neck and hair; she wears many rings on her 
hands. A small Slave follows her, waiving a long- 
handled fan. 

Aquilia [extending her hands]. Greetings, Cornelia! 
I thought we should never get over the square, what 
with the markets crowding in upon it and all the 
poor and beggars standing about, waiting for the 
games and public dole. Why don’t they go to work! 

Cornelia. Greetings, Aquilia! How are you in health? 
All is well, I hope? [They seat themselves.] As for 
the poor, they are thrown off the land, as you know T , 
and have no other place to go, wretched things! 

Aquilia. My health is as usual, thank you. My hus¬ 
band starts soon again for the wars. I hope there 
will be more fine plunder when he returns. See these 
pearls. But I must have them reset. 

Cornelia. But our soldiers do not go to war for plun¬ 
der! They go to subdue the barbarian and to in¬ 
crease the power of Rome! 

[Enter Maid with refreshment.] 

Aquilia. Ugh! Be that as it may, they still bring the 
plunder. I have often wondered, with your father, 
Scipio Africanus, a great general, in Africa, that 


CORNELIA THE MOTHER OF THE GRACCHI 193 

he should not bring you rich gold and amber and tur¬ 
quoises? 

Cornelia. My father goes not to Africa to gather 
jewels for his women folk. [ The tivo boys have come 
up to admire the gems. Cornelia gathers them to her 
as she steps back indignantly .] I need not the gold 
and gems of the conquered with which to bedeck my¬ 
self. [ Pushing forward her boys.] These are my 
jewels. My sons will be patriots to uphold the honor 
of Rome! 

Aquilia [ also rising]. Well—well! Be not so angry, 
Cornelia. It is all a matter of taste. I should not 
like to load myself with such jewels as yours, so you 
are welcome to them. I must away to the games. 
\Preening herself.] I sit today in the Consul’s box. 
Be you content with your spinning and your jewels. 
Farewell. [She sweeps away proudly, her Slave fol- 
lowing.] 

The scene ends in a pretty tableau, the Maids gathering 
devotedly about Cornelia, who stands gazing after 
her guest. Her two boys look up at her. One says: 
“We love you, mother!” The other says: “We 
will be your jewels.” 

SECOND PLAY 

Open space leading to Forum steps in the rear. Group 
of Plebeians, old and young, gathered to left front 
talking together. Mob and Beggars gather to right 
front, the latter picking from a heap of garbage at 
the side. 

First Plebeian. The gossip of the Forum is that At- 
talus of Pergamos hath left all his wealth to Rome. 


194 


FESTIVAL AND CIVIC PLAYS 


Second Plebeian. Aye. But that would only enrich 
the Patricians, who have already more than enough. 
Third Plebeian. Nay, the messenger said that our 
good Tribune, Tiberius Gracchus, has asked that the 
money be distributed among the poor, and that the 
Licinian Laws be repassed, that we may each have 
our quota of land restored to us. 

Fourth Plebeian. Ho-ho-ho! Did the messenger 
also report that the rich men of the Senate did 
steadfastly refuse Tiberius? Ha-lia-ha! [ Doubles 
with laughter.] 

Old Man [steps out tremblingly from the Mob]. Ye 
young men must not be so scornful; I was a slave in 
my youth. I am glad to be free now, though a beggar! 
First Plebeian. Aye, good father; but our children 
are fast becoming slaves again, if we must sell them 
for debt! [A Senator wrapped in a rich toga comes 
on and ascends the Forum steps, disappearing to the 
left. A curious Beggar hobbles after.] 

Beggar [pointing to others ]. Didst see? It be said he 
pays his cook 50,000 denarii a year! O-o-o-oh! To 
be his cook, and eat his scraps! [Others exclaim, 
“Um-m-m-m,” and rub their stomachs.] 

First Plebeian. We are already slaves and worse, 
since we are robbed of the land! [Mob shouts, 
‘ 1 Land—land—Give us back our land!] 

Magistrate [passing]. Why do ye complain? Do not 
your Tribunes dole ye out grain ? Away to the games 
and see the beasts! [Goes out, Lictors following.] 
Beggar. We he beasts already and like to tear! Gr- 
r-r-r! We want to he men and Romans. Give us 
back our land! 

Tiberius Gracchus [coming from the Forum, dressed 
in mourning]. Citizens of Rome, not slaves and beg- 


CORNELIA THE MOTHER OF THE GRACCHI 195 


gars! When our fathers returned from the wars, 
they came back to their homes and families, and to 
their own land. But Licinius is forgotten and his 
laws are broken. [Mob shouts, “Hear! Hear!”] 
Now the soldier has no home or farm to return to. 
His family is scattered or sold as slaves. [Mob 
shouts, “Hear! Hear!”]. Will you stand by me, 
that the Land Laws be renewed? Will ye be slaves 
or citizens of Home? 

Plebeians. We will support you. Long live Tiberius 
Gracchus! We will! We will! 

Tiberius Gracchus. For this we must make a new law, 
or lose all we have gained. Will you risk this much? 
Rome belongs to the Romans! Let us claim it. [Mob 
shouts: “We will!” They crowd about Scribe tak¬ 
ing' votes.] 

Scribe. Let those of mind for the Laws stand on this 
side; the others pass over. [Groups pass.] 

Scipio Nasica [ enters with Soldiers]. Here is the rioter 
who would become King of the beggars of Rome! 
[Soldiers try to scatter voters, who resist.] 

Tiberius Gracchus. These men are Roman citizens, 
not beggars nor criminals! 

Scipio Nasica. I call on all men who would preserve 
the laws of our country to follow me. We shall de¬ 
feat Tiberius’ ambitions! 

Tiberius Gracchus. The laws of Rome are made by 
the people of Rome and not by its Princes. The 
citizens have taken the land from them for their own 
uses. We ask it back to serve the people. 

Scipio Nasica. Away, false leader and law breaker! 
See, he would crown himself! [Tiberius raises his 
hands above his head as a signal to his followers . 


196 


FESTIVAL AND CIVIC PLAYS 


The Soldiers now fall upon the Plebeians and all are 
rushed from stage, the Beggars after. Prolong the 
tumult somewhat.] 

THIRD PLAY 

Ten years have elapsed since the death of Tiberius. 
Caius Gracchus is now Tribune and is carrying on 
the work of his brother. The Land Laws have been 
repassed. Plebeians are electioneering for Caius in 
the foreground of the Forum. 

First Plebeian. Tiberius Gracchus gave his life for us, 
but his work goes on. The old Land Laws are being 
slowly reinforced. Now Caius Gracchus, also a son 
of the noble Cornelia, is gaining other rights for us. 

Citizens. Hear! Hear! Tell us more! We will vote 
for any son of Cornelia. 

Second Plebeian. Caius Gracchus has done more. He 
has built us bridges, improved the roads, set up mile¬ 
stones. He thinks of our convenience and pleasure. 
He makes all Romans equal, with no upper seats for 
the games. Will you vote for him or for a tyrant! 

Third Plebeian. Yea, he has looked upon our poverty 
and our crowded living. He lias opened up colonies 
for us, with land to be had for the taxes. In the mean¬ 
time he has provided cheaper corn, so that any 
citizen may live. We must make him Tribune for 
his works’ sake. 

Beggar. The others give us corn—if we whine for it. 
We will whine for Caius today and for Drusus to¬ 
morrow, if both give us corn! Why pay, if we can 
easier whine! He-he-he! We would rather whine 
than pay! [Runs in a circle.] 


CORNELIA THE MOTHER OF THE GRACCHI 197 


First Plebeian. Away! Yon craven slave! I am speak¬ 
ing to citizens and friends of Cains. As a Tribune 
he is sacred to Home and none dare attack him. We 
must save him for his mother’s sake. 

Beggar. We will eat Drusus’ corn. Drusus gives ns 
free corn. Come, fellows, he-he-he! We like corn 
free! [ Voters push Beggars away.] 

Second Plebeian [angrily]. Hirelings all! Do yon 
hear, citizens? When Cains gives ns reasonable 
rates, his enemies offer free bread. When he pro¬ 
vides us land for the taxes, Drusus offers it for 
naught. Thus have we become a city of beggars and 
leeches! No more do men hold up their heads in Rome. 

Messenger. Caius Gracchus sends word for all friends 
to meet him in the Forum to-morrow. He says to 
cease all strife and come to peace. [Salutes and goes 
out. Many make excuses as they turn to go, as “I 
must go to my country house,” “I must take a jour¬ 
ney,” “I have bargained for some workmen,” “I 
must bury a friend.”] 

First Plebeian. Meet all, then, in the Forum and come 
not unarmed, for our enemies are many. As for me, 
I shall spend the night on the Hill. There are evil 
omens; we may lose our cause. But we can die with 
Caius. [All go.] 


SCENE I 

Discovered: Caius walking in the garden with his 
mother. She wears a black veil and carries a Roman 
lamp as if returning from a tomb. 

Cornelia. I have not mourned outwardly for your 
brother Tiberius. I gave him proudly to our cause. 
Must I lose you also to Rome? 


198 


FESTIVAL AND CIVIC PLAYS 


Caius. Good mother, yon reared ns for her, and now 
that she is gone mad, we must still serve her. We 
must even give our lives to save her. 

Cornelia. The people themselves are craven. They 
will desert you. 

Caius. But Borne is greater than her people. Her true 
sons must not fail her. 

Cornelia. Then go, my son. The dawn is breaking. 
May your cause prosper and that of Rome. Fare¬ 
well ! 

Caius. Farewell, Mother! I have not forgotten Tibe¬ 
rius—I will be calm, for your sake and Rome’s. 
[Kisses her brow and turns off left.] 

SCENE II 

In the Forum the two parties move excitedly about. 
Caius Gracchus and his friends stand on an elevation 
to the left; Drusus, with soldiers and citizens, ranges 
to the right, Drusus standing higher. As a citizen 
crosses to the left group, they pull him back. 

First Plebeian. It is useless to attempt to vote. See, 
they have brought soldiers. 

Caius. Be at peace, friends. Take no offense, even 
though they offer insult. [Louder.] We are un¬ 
armed citizens of Rome, assembled to vote for a 
Tribune. 

Mob. Hear! Hear! They would vote peaceably for 
a Tribune. [Yells of derision.] 

Crier. Hear! Hear! A proclamation from the Con¬ 
sul Opimius! For the head of Caius Gracchus—its 



CORNELIA THE MOTHER OF THE GRACCHI 199 

full weight in gold! [Crowd shouts, and breaks over, 
making passes at Caius.] 

Second Plebeian. See! The Consul himself coming 
at the head of troops. Caius, all is lost. Make your 
escape, while we hold back the mob. [Struggle be¬ 
gins .] 

Caius. Is there naught to stay this second crime ? The 
Consul himself leads Rome to its doom. [The old 
servant of Caius tries to protect him.] 

Old Servant. Go, Master, save yourself. Across the 
Tiber, quickly! I will follow. Away! Away! 

Caius 9 followers fight off his pursuers with short 
swords. The tumult lasts thirty seconds, then all 
are off. The play closes with a picture of Cornelia 
appearing between curtains. 

Cornelia. Alas, my sons, my sons! Ye were indeed 
patriots—ye have lived and died for Rome. [Cur¬ 
tain.] 

Note. The noble Cornelia did not mourn openly for her sons. 

Later the Romans were ashamed of their treatment of the Gracchi, 

and erected a bronze tablet on which were inscribed the words: “To 

Cornelia the Mother of the Gracchi.” 






The Court of Justinian the Great— Constant 













THE STORY OF ROMAN LAW 

(700-450 B. C.—528 A. D.) 

Narrator. The story of Rome would be incomplete 
without knowing something of its law making. The 
study of law has become one of our greatest professions, 
and if any student of our school thinks of becoming a 
lawyer, we would advise him to make an early start. 
Not only must he know the law of the present time, hut 
he will need to get acquainted with its history. 

Much of the law as it stands today began with the 
Romans. They had a great genius for government, and 
early put their state in order. As we know, all races 
have a primitive sense of right and wrong, from which 
they gain certain rules of behavior. These become 
usage or laws of custom and common sense, called by 
the Romans Jus non Scriptum, or unwritten laws. 

According to legend, these unwritten laws were first 
compiled by the good King Numa, who gave his entire 
reign of over forty years to bringing his people into a 
state of order and peace. He first organized their wor¬ 
ship from the things they believed in most. The lands 
which Romulus gained by war, Numa divided among 
the people, and taught them to plow and to plant in¬ 
stead of fight. One of the stories told of Numa was 
that he received wisdom directly from the gods, through 
the oracles, or Sibyls. The story of the Sibylline books, 
in which all the precepts of King Numa were supposed 
to be written, will now be presented by the pupils of 
Class-. (See Play.) 


201 


KING TARQUIN AND THE SIBYL 

PEOPLE or THE PLAY 

King Tarquin Arval Priests 

Cualean Sibyl Slaves 

Narrator 

Discovered: King Tarquin. seated in a royal chair. 
Two Slaves are kneeling on either side. An Arval 
Priest stands at the hack. Enter a Slave Boy right. 

Slave Boy. A woman wishes to speak to thee, 0 King. 

Tarquin. Let her enter. [Gestures assent. Cumjean 
Sibyl, veiled and carrying an armful of scrolls, en¬ 
ters at right and stands proudly at a distance .] Come 
nearer, good woman. What is it you wish ? 

Sibyl. I hold here the nine hooks of the laws of Numa. 
Will you purchase them? 

Tarquin. What price do you ask for these precious 
writings ? 

Siby t l. Sixty thousand numi. 

Tarquin. Thy price is exorbitant! Wliat books are so 
valuable that they are worth their weight in gold ? 

Sibyl [angrily]. The books of the prophecies of Rome, 
King Tarquin. 

Tarquin. Nay, nay. It is too much. Take them away. 
[Gestures. Siby t l steps hack to the right, where she 
tears up three of the rolls and throws them into a 
hrazier from which smoke of incense ascends. Tar¬ 
quin interrupts her impatiently.] Now that you 
have destroyed three of the books, what do you de¬ 
mand for the others? 


202 


KING TARQUIN AND THE SIBYL 


203 


Sibyl [coming forward and again clutching the 
scrolls]. Sixty thousapd numi! 

Tarquin [rises angrily. Slaves also stand]. Away, 
woman! Away! Thy demands are outrageous! Who 
gave thee the right to destroy the Sacred Books? 
Sibyl [without answering, steps hack to brazier and 
tears up three more], 

Tarquin [steps off the dais and goes towards her]. 
Stay thy hand, woman. Stay thy hand, lest the gods 
destroy thee. What pittance wilt thou now take for 
the books that are left? 

Sibyl [holding them up proudly]. Sixty thousand 
numi. 

Priest [steps forward]. Art thou not refusing the gift 
of the gods ? For the future of Rome, pay what she 
asks. 

Tarquin [gives gold to a Slave, and turns moodily 
hack to his seat]. Pay her the price. [The Sibyl takes 
the gold , and passes over the hooks to the Slave.] 
Sibyl. Not upon me, but upon the house of Tarquin, 
will the curse of the gods fall for the destruction of 
these books. Look to it, O King. [Goes out haugh¬ 
tily , veiling her face. King gazes after her scowl¬ 
ing.] Curtain. 

THE TWELVE TABLES 

Narrator. As time went on, the legendary Books of 
the Sibyl were lost or destroyed. But the people had 
treasured all the precepts laid down by Numa and had 
practiced them so long that they knew them by heart. 
The time came when the people wished to know the 
law for themselves, instead of being arbitrarily ruled 


204 


FESTIVAL AND CIVIC PLAYS 


by the Patricians. They suspected that the true law 
was not dealt out to them. 

Then the Romans did a wonderful thing. They laid 
aside all their regular customs and appointed the De- 
cemvirate, or Council of Ten, whose business was to 
gather up all the sayings and writings on their laws; 
to compare and rewrite them, and present them to the 
people for their criticism. And who should know bet¬ 
ter how to criticize them than the Roman people, who 
had known and kept them from the beginning? 

You can imagine the scene in the public Forum—the 
old farmers who knew the Land Laws, and the trades 
people who dealt in the exchange of food, cattle, 
leather and wool; the laborers and even the slaves, 
who knew the laws about themselves; all gathered to¬ 
gether to criticize and vote on the future written laws 
of Rome. 

When all was done, the Laws were inscribed on 
Twelve Tables of bronze and hung in the public Forum, 
where anybody could consult them. The boys were 
obliged to learn the Tables by heart, as a necessary 
preparation for citizenship. Cicero says of these Ta¬ 
bles: “If anj^one look at the foundation and source 
of laws, the Twelve Tables, it seems to me, assuredly 
surpass the libraries of all the philosophers in weight 
of authority, plenitude and utility.” 

Some of these laws would seem cruel to us today, but 
they were in keeping with the crude ideas of the times. 

Class-will tell you of the Patria Potestas, or the 

Power of the Father, who had power to condemn his 
own son to death. Brutus and Collatinus were the two 
Consuls of the early Republic which followed the Tar- 
quins. 


PATRIA POTESTAS 


PEOPLE OF THE PLAY 

Lucius Junius Brutus, First Consul 
Collatinus Tarquinius, Second Consul 
Valerius Publicola 
Nephews of Collatinus, youths 
Tiberius ) _ 

Titus \ sons °f Brutus 
Vindicius, a citizen 
Magistrate, Lictors, Soldiers 
Narrator 

Two Consuls enter left and seat themselves on a raised 
platform. Soldiers stand on either side. A few 
citizens wrapped in togas sit on the side. 

Enter Messenger. 

Messenger. They have taken the youths who would 
traitorously yield Rome back to the Tarquins. What 
shall be done with them? 

Brutus. Bring them before us, that they may be tried 
by the law. [Six youths are brought in right, with 
Lictors walking on either side.] 

Collatinus. The gods protect us, Brutus. See, your 
own sons, Tiberius and Titus, are among the traitors. 

Brutus [starting up in astonishment ]. My sons— my 
sons among the traitors? See your nephews! 
[Slowly folds his arms and gazes sternly at the cul¬ 
prits.] What charge is brought against these 
youths ? 


205 


206 


FESTIVAL AND CIVIC PLAYS 


Magistrate. They were found engaged in wanton 
treason against the New Republic, in joining to¬ 
gether to restore the cruel Tarquins and put us again 
in their power. Bring on the witness. 

Magistrate [pushes forward Slave]. This man saw and 
heard the transaction. 

Vindicius. I was working in the cellar and saw this 
oath both written and sworn to by the young Princes. 
Valerius, my friend, is my surety. 

Valerius. This man speaks the truth. We hold here 
the proof. [Shows writing on skin.] 

Brutus [to Collatings]. Take you the examination 
of the prisoners. Let us hear their case. [Sits 
down.] 

Collatinus [ rising , addresses prisoners.] You have 
heard the charge. What plea do you present for your 
rash acts in this matter? 

First Youth. We like not the Plebeian State. We are 
Princes and would have a King reign over us. 

Second Youth. The Tarquins are our kin and friends; 
the others are strangers. 

Tiberius. We learned and fought together. We love 
our cousins. 

Titus [sullenly]. We would live like Princes, not like 
slaves. 

Collatinus. Is this all your plea for so grave an of¬ 
fense as treason? Did you not understand the pun¬ 
ishment for your act? [To Magistrate.] Read the 
law upon the case. 

Magistrate. Let any citizen who willfully conspires 
against the state be publicly flogged and afterwards 
put to death. 

Youths [doggedly]. You may flog us, but our lives are 
not forfeit. We thought not of the penalty, only of 


PATRIA POTESTAS 


207 


our friends. We are Romans, not aliens. [Pupils 
may invent other reasons.] 

Tiberius. You would not put your own sons to death. 
You are our father. 

Titus. Father, father—we are thy sons! We are thy 
children. [Arms extended.] 

Brutus [rising]. Ye are now traitors by the law, not 
sons. A father may have many sons, hut he can have 
but one country, the land of his birth. Men give 
their lives to preserve their Mother Country. Nor 
can I save you and condemn the others. You all 
must now come under one law. [Lictors take them 
to their fate. Make a good tableau of the exit and 
hold for a moment.] Curtain. 

Note. Death is still the penalty for treason. 





THE JUSTINIAN CODE 


Narrator. Many years passed before anything more 
was done to organize the Roman Law, except to change 
it or add to it, until it became almost impossible to fol¬ 
low. The old Twelve Tables had long since been de¬ 
stroyed and lost, except as they were preserved in 
famous cases and decisions. The great conquests of 
the Romans had brought many foreigners into the land, 
which helped complicate matters. Things would have 
been in a very bad way indeed, except that every Ro¬ 
man was a lawyer, trained in the disputes of the forum. 

For nearly a thousand years Rome was the center of 
the great civil and military struggles of the world. 
During this time the law of might was stronger than 
the law of right. When the bad emperors ruled, there 
was great injustice. But there were also wise and just 
rulers, like Augustus, who did all in their power to 
right matters. [Class may mention others.] 

But it was not until 528 A. D. that the Emperor Jus¬ 
tinian began to clear up the muddle of Roman Law. As 
a young man he had assisted his uncle, Emperor Jus¬ 
tin, in the administration of the affairs of his enormous 
empire. No doubt this experience turned his attention 
to much needed reforms, when he himself became Em¬ 
peror. Justinian now appointed his wise friend Tribo- 
nian, with nine other learned jurists, to begin this great 
work of founding a Roman Jurisprudence, which took 
many years to complete. Thus was formulated the 
Justinian Code, or Codex of Roman law. 


208 


THE JUSTINIAN CODE 


PEOPLE OF THE PLAY 

Justinian, Roman Emperor 
Tribonian, Theophilus) • rists 
Joannes, Dorotheus \ 

Six Other Jurists 
Scribes, Clerks, Slaves 
Herald and Guards 
Narrator 

STAGING THE PLAY 

Scene is staged after picture by Constant. [See plate , p. 200.] 
Study and imitate carefully this Roman interior. 

Make strong contrasts between costumes of nobles and slaves. 

The robes of the nobles are heavy and of rich coloring. 

Provide scrolls, rolls, tablets and styli, heavy tomes, etc. 

Roll leather table covers and tie for records. 

Enter from the left Justinian, richly dressed, with 
Tribonian. He seats himself on a dais, Tribonian 
at his right. The nine other Jurists come in together, 
followed by Scribes and Slaves who carry writing 
material and books. Enter Herald. 

Herald [ announces to audience ]. The Emperor Caesar 
Flavins Justinianus, vanquisher of the Alimanni, 
the Goths, Francs, Germans, Antes, Alani, Vandals, 
Africans—pious, happy, glorious, triumphant con¬ 
queror, ever august, to the youths desirous of study¬ 
ing the law, gives greetings. Our desire is that our 
country shall be strengthened by laws that we may 
be governed alike in time of peace and war; that we 

209 


210 


FESTIVAL AND CIVIC PLAYS 


may repel the iniquities of evil men, uphold justice 
and triumph over all our enemies. To this end are 
we met together. 

[ Trumpets; the Emperor now rises and all find places 
as above described .] 

Justinian. Friends, I have called you together today 
that we may consider some means for reorganizing 
our Roman Law. You are all acquainted with its 
sad state of confusion and disorder. With our em¬ 
pire made up of peoples of all the known world, and 
our relations to all their countries, how can we hope 
to rule them well, unless we study justice for all? 
I have asked Tribonian and his friends to gather up 
the records that remain in the great libraries and 
lay them before us, to make a beginning at our great 
task. 

Tribonian [bowing low]. Mighty Emperor, to meet 
your needs, I have brought with me Hadrian’s 
Perpetual Edict, in which he endeavored to preserve 
the foundations of the old laws. This was a difficult 
task, as many records were destroyed by the despots. 
Theophilus has brought us others. [Clerks spread 
rolls.] 

Theophilus. Mighty Emperor, I have brought the 
incomplete books of Constantine, Gregory and Her- 
mogenes. Also a more complete work which was 
written under Theodosius II. I have had the learned 
Joannes examine these. He will make a report on 
the opinions and formulas of these learned jurists. 

Justinian. Well done, friends. It already sounds 
weighty enough to sink a man. Joannes, I trust you 
have made fast a rope to the shore and will call for 
help ere we sink. [Laughter.] 


THE JUSTINIAN CODE 


211 


Joannes. You jest, my noble lord. These are weighty 
matters. I find the responsa of the earlier forms of 
our law much clearer, more to the point and more 
elegant than the later versions, which seem to lack 
the true Roman character. Better are Gaius, Ulpian 
and others. All must be compared. 

Tribonian. Quite right, Joannes, for those later writ¬ 
ings were produced here in Constantinople, often by 
alien writers. Dorotheus also has brought matter 
for consideration. 

Dorotheus. I, my lord, have occupied myself with the 
ancients and the lore of Lycurgus, Draco and Solon, 
of the Greeks. We may still learn from their deci¬ 
sions. Lycurgus was honest and a good financier 
and his iron currency carried weight. [ Laughter .] 
Draco was too severe, and ‘‘wrote his laws in blood 
instead of ink.” Solon the Sage was the better legis¬ 
lator. His decision on debt is to be borne in mind. 
There are many lesser Roman authorities whom we 
must also consult. 

Justinian. As thou sayest, much may be learned from 
these ancients. Throughout I would advise you to 
lean towards the laws for the common people. The 
rich man eases himself with money. The poor man 
pays with his body. What about the great pleaders 
of the Republic, Cato, Cicero, Caesar! The men of 
the Empire, Augustus and his auto de fe* Marcus 
Aurelius the Just, and the reformers, Trajan and 
Pliny. These men all fought for justice. Let us 
strain out their virtues for the new Code. [ Ap¬ 
plause .,] 

* Augustus caused all false records to be burned publicly. 



212 


FESTIVAL AND CIVIC PLAYS 


Tribonian. My gracious lord, you have defined our 
case. For how can we create laws for many, unless 
we consult all laws? We have undertaken a great 
work, and much time will elapse before the Justinian 
Code will be complete. We must also make a digest 
of the entire Corpus Juris Civilis, or civil law of 
Rome. Most needed is a shorter book for learners, 
on decisions, questions, disputations—a compilation 
that will guide the young jurist on the true way 
to law, and shorten his journey. 

Justinian. Take time, my friends. Let us leave be¬ 
hind us a work for the generations to come. We shall 
meet again on the ides of the month. Prepare your 
studies for that time. And now away to the baths, 
and rest your weary brains. By the way, I have for¬ 
gotten my purse. Who will lend his Emperor enough 
Iron Men to pay his way? [Much laughter as all go 
out together . Slaves gather up scrolls and books.] 
Curtain. 

Narrator. Friends, you have heard a brief review 
of the beginnings of Roman Law. Our classes are 
preparing a debate on Comparisons of Old and New 
Laws. We invite you to come and hear our conclu¬ 
sions on the subject. 






CARACTACUS AND THE ROMANS 

STORY OF THE BRITONS 

The time of Roman, supremacy was a period of discovery, as cen¬ 
turies later was the time of Columbus. Roman legions invaded the 
British Isles, which were known also to those early sea rovers, the 
Phoenicians, and other traders of the far east and the Mediterranean, 
who visited the coasts of Cornwall for tin. They were called the Tin 
Islands at that time. 

The racial geography of the British Isles was much the same then 
as now; tribes of Celts scattered in Ireland and Wales, the fierce 
Piets and Scots to the north and the milder Brigantes to the south. 
The inhabitants were all of the great Celtic stock, who, because of 
their isolation kept longer to their primitive state. 

It was not until the first century A. D. that any permanent foot¬ 
hold was gained by the Romans in Britain. London, or Londinium, 
was then already a flourishing town, well known to Roman merchants. 
It became the seat of Roman building operations and you may see 
today in St. Swithin’s church, a millarium, or Roman milestone, a 
reminder of the days when “all roads led to London.” 

In 55-54 B. C. Julius Caesar crossed over from “All Gaul” twice, 
and no doubt the frightened and curious Britons of the coast capitu¬ 
lated readily. But the real struggle was with the fierce tribes of the 
interior, one hundred years later. Caractacus held out against the 
Romans for seven years. Later Boadicea inspired a revolt in which 
70,000 Romans were slain. 

Hard-won conquests gave the Romans a temporary supremacy. 
But when these same barbarians found out the weaknesses of their 
conquerors, they in their turn overthrew Rome. This is the story 
of the Goths and Vandals of the middle ages, who reduced Rome to 
the ruins of today. One outstanding good result of these early inva¬ 
sions was that these great races became acquainted with each other. 

213 


PEOPLE OF THE PLAY 


Julius Caesar 

Legionaries 

Barbarians 

Caractacus, Briton Prince 
Emperor Claudius, and his court 
Roman Matrons and Little Girls 
Cartismandua, Queen of the Brigantes 
Druid Priests, two or more 
Briton Chiefs, two or more 
Roman Soldiers, two or more guards 
Warrior Women, group with the Queen 
Boy attending Caractacus 

STAGING THE PLAY 

For indoor presentation, stage with wooded scenery. 

Only one setting required, with props and drop curtain. 

First scene calls for a rude stone throne and druidical stones. 
Arrange stones and altar in semicircular back stage. 

For Roman scene, remove stones arid altar and redecorate throne. 
Make strong contrasts between rude, fierce Britons and Romans. 


214 


CARACTACUS AND THE ROMANS 

PRELUDE 

Discovered: Julius C^sar surrounded by his Legion¬ 
aries on the shores of Britain; Barbarians peer out 
from wooded scenery and then bring hostages and 
gifts . C;esar hears three Roman Soldiers talk earn¬ 
estly together of their longing to return to Rome. 

First Soldier. Yet another country to conquer! If 
only the good General would let us return to our 
homes and families, and get away from this savage 
land before our last ship founders! 

Second Soldier. Yea, if we might! Our friends may 
all have perished in these nine years—before we get 
back again. We are sick of these stern cliffs, dismal 
forests and wild men. 

Third Soldier. It is true. We have twice met the 
Britons in battle. Why risk our trained men against 
Caswallon’s chariots that mow us down like grass! 
These barbarians fight like wild beasts for their 
young. If we might only plant the Eagles of Rome, 
and then let others come and finish the work. 

CiESAR [stepping forward ]. You reason justly, my 
men. I, too, am weary and would see Rome again. 
You built the ships that brought us here and together 
we have pushed the campaign where no Roman foot 
has trod before. [He raises Roman standard .] Bri¬ 
tannia Romana, I take thee in the name of Rome, 
Queen of the World. [All raise their spears and 
shout, “Britannia Romana!”] And now let us re¬ 
trace our steps in all honor. We have enough ships 

215 


216 


FESTIVAL AND CIVIC PLAYS 


left to cross this treacherous channel; then for the 
long journey home in safety. Forward, men—for 
Rome and home. [The Soldiers get into step, re¬ 
peating the slogan, “Rome and home! ,, March off.] 

SCENE I 

Discovered: Caractacus seated moodily in stone chair, 
ivatching Priest sacrificing at altar. Caractacus 
interrupts Priest as latter considts omens in ashes. 
Caractacus. What say the omens—shall I be victori¬ 
ous over these invaders who hang like vultures at our 
heels ? 

Druid [turns to Caractacus]. The signs are not clear. 

No victory is shown, but a long struggle, in the ashes. 
Caractacus. We must rouse ourselves. [Calls.] 
Come, warriors! [Throws himself from the chair 
and comes to center. A Boy rudely dressed in skins 
brings him a round leather shield and a spear. Ca¬ 
ractacus dons these as he speaks.] A raven hung 
over my tent last eve, but he flew south. [Points.] 
Shall I follow the portent as victor or prisoner! 
[Warriors gather round him ivith rude shouts.] We 
must to the fray, whatever comes. [Exeunt all rap¬ 
idly. Remove stones.] Curtain. 

If desired this scene may be enlarged by the appearance of a group 
of tribal women, who take charge of the food and equipment of the 
foray. This will add historical color. 

SCENE II 

Discovered: Cartismandua, Queen of the Brig antes, 
sitting sullenly ivith her Warrior Women grouped 
about her. Roman Guard stands back of her chair. 
Shields and spears stacked about. 


CARACTACUS AND THE ROMANS 


217 


First Warrior Woman. A runner brings word of a 
great battle between Caractacus and the Roman le¬ 
gions. They are fighting on the plain. 

Second Warrior Woman [ starts toward weapons ]. Let 
us go help them! 

Queen [gestures]. Stay! We can do naught to help 
them. We must look to our own weal. [Glances 
sidewise at the Guard.] The Romans are mighty 
conquerors. We must yield. 

First Warrior Woman [looks to right, as loud shouts 
are heard.] They are overwhelmed. 

Soldiers [come on excitedly, gesticulating before the 
Queen]. Thou wilt stand for Caractacus, the Britain 
King? The Romans have cut down his hordes. 

[Enter Caractacus, frenzied , his spear dragging.] 

Caractacus. The end has come! Britain is no more! 
Unless, Queen, thou stand with us against the foe. 

Queen [rises]. There is no protection here [points to 
the Guard]. We are in the fore ranks. What can a 
woman do against the eagle-crested Romans? Our 
only safety is to yield to the invader. 

Caractacus. Woman, thou hast destroyed us! Come, 
chiefs, we will go to our deaths as befits warriors 
and men! [Turns to stride out with his followers. 
Roman Guards appear at rear. Women shout their 
war cries and Guard stands fixed.] 

SCENE III 

Curtain rises on Roman Emperor Claudius sitting 
on his throne, surrounded by Guards. On a low 
platform at the rear Roman Matrons stand with Lit¬ 
tle Girls scattering floivers. Pose from noted picture. 


218 


FESTIVAL AND CIVIC PLAYS 


Procession may come down middle aisle and pass in 
front of stage, with Caractacus and his family in 
chains. Caractacus ascends steps to address the 
Emperor. All the players appear in the procession 
except the chief characters. 

The plea of Caractacus may he prepared by the history 
class, giving a short sketch of the Britons — Druids, 
hards, women rulers, warriors, family life and gov¬ 
ernment. At the close Caractacus speaks. 

Caractacus. Who are you, invaders of our land, spoil¬ 
ers come to destroy us? We are men, as you are. 
We owe you naught. Restore to us our own and let 
us he friends and allies, not enemies. 

Emperor [arises and steps down from his throne ]. 
Though a barbarian, you have nobly plead your peo¬ 
ple’s cause. We will be friends, as you say, and to¬ 
gether spread the glory of Rome over all the earth. 
[Takes off Caractacus’ chains.] You are free. You 
and your family, mingle with our citizens. [Roman 
Matrons greet his wife and children. Procession 
shouts: “Long live Caractacus!” All march off to 
music.] Curtain. 


“(ilflmr, little bonk, mrttfmkfl tljou’rt long wow? 
’©t b tint* to ttjtnk of bmbtnga.” 

—Martial Epigram 







APPENDIX 


COSTUME SUGGESTIONS 

Greek and Roman dress involves style and adapta¬ 
tion rather than dressmaking. For best results study 
art representations instead of McCalPs pattern hooks. 
A length of cloth, a roll of tape, a paper of pins, and 
an acquaintance with classical styles, will produce a 
better goddess, soldier or senator than much sewing. 

The plate models reproduced here will aid in achiev¬ 
ing correct style in costumes, however sketchily repro¬ 
duced. Since sewing was not yet in vogue, the method 
was to drap a large piece of cloth artistically and fasten 
it in place with clasps and cords. The more formal 
soldier dress may be painted on firm cloth and then 
laced around the body. 

GREEK DRESS 

Formal garments comprised chiton or loose tunic, 
himation, diplois, chlamys or cloak. The chiton was 
also used for home dress, when it was made of cotton 
cloth, caught up at waist and shoulder. It was some¬ 
times used as an undergarment, but often was the only 
garment worn. 

The chiton was made in different styles, short or 
long, with or without sleeves. The Ionian chiton was 
long and worn with a girdle. It was the street dress 
for both men and women, when it was shortened and 
worn with a heavy mantle. 


221 



Greek Costumes for Men and Women 

1—General. 2—Orator. 3—Foot Soldier. 4—Ionic Chiton. 5— 
Huntress. 6—Diplois. 

222 










































APPENDIX 


223 


The diplois was a wrap worn by women, of which 
the outer fold falls to the hips or below. It was worn 
over the chiton. The short upper drapery of the wom¬ 
an’s tunic was also called diplois. 

The Jiimation was a rough, woolen outer garment, 
fastened on the shoulder with a clasp. It consisted of 
a rectangular piece of cloth 5-6 feet wide by twice as 
long, wrapped around the body according to taste. It 
was worn over the tunic by men or as a sole garment. 

The chlamys was a mantle, smaller than the hima- 
tion, an oblong piece with three straight sides and one 
long side curved outward. It was worn by hunters, 
travelers, soldiers, horsemen. It was caught with a 
buckle on the right shoulder or back, with ends left 
hanging in ornamental folds. 

The soldier’s dress consisted of a short tunic, with 
helmet, corselet, greaves, shield, sword and lance. 

Old people wore long, white or gray robes, with 
mantle, hood and sandals. The old men wore beards 
and carried staves. 


ROMAN DRESS 

For formal wear, the tunic, toga, palla, stola were 
the Roman garments. 

The Roman tunic was an undergarment worn by 
both men and women, with a girdle. 

The toga was the formal dress for men of standing 
and for officials. It was heavy and cumbersome. 

The stola was a sleeved undergarment of linen or 
wool, worn by women. 

The palla was the outer or street dress of the Roman 
matron. 


224 FESTIVAL AND CIVIC PLAYS 

GENERAL HINTS 

For school plays the dress should be reduced to one 
garment, if possible, with the cloak reserved for special 
occasions and characters. Jason, Perseus and Theseus 
will require tunic, cloak and travel hat; Cincinnatus, 
tunic and toga; Atalanta short, running tunic and hand¬ 
some cloak. Colored cloaks would be needed for the 
officials of the Pericles scenes and togas for the Gracchi 
street gatherings. The classes may work on the decora¬ 
tions and realistic touches which add dignity or humor 
to the roles. All taking part should practice carrying 
their costumes naturally and gracefully. 

MATERIALS 

Cheap, unbleached sheeting, dyed or undyed, is most 
practical for toga, mantle, robe, himation or colored 
chlamys. A bolt may be bought at a reduced price to 
supply the play. Allowance must be made for dyeing 
shrinkage. Unbleached cheesecloth, dyed in shades, is 
most practical for chiton and diplois of women’s wear. 
The latter crapes up in dyeing, which improves the tex¬ 
ture. Thin, bleached cheesecloth tints well and will 
serve for the dancing chiton, supplemented with com¬ 
plementary chiffon veils. Eobes of dancers should fall 
in ample draperies well below the knee. 

MEASUREMENTS 

Approximate measurements are suggested: Short 
tunics for boys, soldiers, workmen, or girls require 
from two to three yards in length and one in width. 
Soldier’s kilts require twice the width. A woman’s 
chiton will require from four to six yards in length and 
one in width. Seven yards will allow for overhang at 



Boman Costumes for Men and Women 

l plebeian. 2—Emperor. 3—Senator. 4—Stola with Palla. 5— 

General. 6—Palla, worn as hood, 

225 











































Costumes and Accessories 
[For detailed list of figures see footnote, p. 227.] 

226 






























APPENDIX 


227 


the waist and the diplois drape from the shoulders. For 
cutting the latter garment, divide the entire length in 
two pieces, folding the upper third outward, front and 
back, then knot on the shoulder, with the long points 
falling down over the arms. When made separate from 
the chiton, the diplois was very ornamental and was 
worn as a wrap by the older women. See Fig. 15, which 
shows width of cloth used as length. 

DYEING 

For a festival of any size the color scheme should be 
arranged beforehand so as to avoid too many conflicts 
and a confusion of colors. You can use colors, shades 
and tints and follow out each series. For variety take 
complementaries and treat in the same way, using 
medium colors for your heavier garments. The un¬ 
bleached cheesecloth will take shades from the second 
dipping. Redip for borders. Tints in prismatic shades 
should be used for the dancers. Neutral tints, for beg¬ 
gars, workingmen’s tunics, etc., may be obtained by 
mixing the left-over dyes, producing dull, dark shades. 
For cloaks, brighten red into scarlet with a touch of 
yellow; blend your greens and blues by interchanging a 
little of these dyes. Borders should be in contrasts and 
in gilts. They may be cut out of crepe paper and sewed 
onto the robes. Or they may be painted or stenciled 
onto the garment itself. The new cold dyes make rich, 
strong colors. For practical use the soap dyes are very 

Costumes and accessories as illustrated in plate, p. 226: 

1—Hermes’ Cap. 2—Roman Oak Wreath. 3—Pan Pipes. 4—Stool. 
5, 6—Roman Hair Dressing. 7—Greek Lyre. 8, 9, 10, 11—Masks. 12- 
Roman Trident. 13—Greek Chair and Woman Embroidering. 14—Roman 
Boy’s Dress. 15—Dress Pattern. 16—Syrinx. 17, 18—Roman Sandal and 
War Boot. 19, 20—Greek Sandals. 



228 


FESTIVAL AND CIVIC PLAYS 


good. Consult “Private Life of the Romans,” Pres¬ 
ton and Dodge, for color suggestions. 

PROPERTY BOX 

All bought, dyed and made garments should go into 
a property box, after the performance, and serve for 
future occasions. Destructive treatment of valuable 
costumes is a matter for school discipline. In fact it 
should become a rule that each garment be returned 
folded and in order after the play. All borders and 
decorations should be handled by art teachers. De¬ 
signing, draping and finishing of garments, should be 
under the direction of the Domestic Arts classes. 

STAGE PROPERTIES 

Architectural properties, such as columns, cornices, 
platforms, steps, banquet hall interiors, low couches, 
tables, throne, altar, walls, caves, movable props, ships, 
etc., are the business of the shops and manual training 
departments. A ship with a properly designed and 
constructed frame, sides made of strong paper, deco¬ 
rated and equipped with oars, etc., makes a gallant 
Argo. The ship may be cleverly operated by the crew 
on the off side. Columns painted on canvas or paper 
will represent Athens. They may be connected with a 
cornice mounted on light, wooden frames and, with 
curtains and screens, transform a bare floor space into 
the semblance of a temple. The supreme test of acting 
without settings is hardly to be expected of amateurs. 
As has been suggested, extending the stage out into 
the audience, by means of steps, plants, etc., helps to 
break bad lines. Entrances and processions through 
the audience are effective where there are large num¬ 
bers in the cast. 



Columns and Borders 

1—Bomah Doric. 2—Greek Doric. 3—Ionic. 4—Corinthian. 5, 6, 7, 
8—Designs for Greek Borders. 


229 





















































































230 FESTIVAL AND CIVIC PLAYS 

ANIMALS 

Fearful and impressive lions, dragons, serpents, 
hydras, etc., may be improvised out of old burlap or 
canvas and gleefully vitalized by small boys. Fire- 
breathing oxen will most realistically plow Ares ? Field, 
equipped as to legs and manipulated from the rear by 
the same motive power. Electric bulbs and flashes make 
flaming eyeballs and fire-spouting nostrils. Impossible 
monsters may be killed behind the scenes and talked 
of before the curtain, in true old Greek drama style. 

ART OBJECTS 

Modeling vases from papier mache, or pulp of soaked 
newspapers, is a recently developed art. If you have 
an embryo artist in the school, there is no better cause 
to which to turn his attention. As a last substitute, 
vases may be cut out of grayish cardboard and, with a 
little crayon perspective, set against a pot of flowers 
in the distance. A Roman bench or a cathedra chair are 
possible projects. A tin tub, with a wide, ornamented 
rim of pasteboard, will produce a workable fountain, if 
desired. A bust can always be secured. 

MAKE-UP 

Make-up should hold a subordinate place in school 
plays and be used in special relation to costume and 
character. Posture and voice will picture old age bet¬ 
ter than paint. A few ^ wrinkles ’ ’ may be added by way 
of complement. Unless make-up strengthens the char¬ 
acter it would better be omitted. Act well the part, then 
add bloom or pallor as needed. The Prince must be 
fairer than the potter; the matron more dignified than 
the maid. Strive to present a clear picture by word, 
person and dress. Let your acting be more convinc¬ 
ing than your make-up. 


VOCABULARY 


Greek names come to us through the Latin and both Latin and Greek 
are pronounced in English with the English sounds of vowels and conso¬ 
nants. This usage obtains throughout English speaking countries, because 
it would be impossible without a study of Latin and Greek to acquire cor¬ 
rect pronunciation of names and words of these languages. 

Latin words of two syllables are accented on the penult (next to the last). 
In words of more than two syllables the accent falls upon the antepenult 
(second from the last). There are, of course, exceptions to these rules 
too numerous to list. In the Vocabulary accent is indicated to aid in pro¬ 
nunciation. Words of five or more syllables have two accents. 

VOWEL SOUNDS 

A vowel followed by a single consonant in the same syllable has the 
short sound, as a in man, e in met, i in bit, o in dot, u in cut; except 
when the letter a follows qu before dr it has the sound of a in quality. 
Followed by rt it has the sound of a in quart. Otherwise, a has the sound 
of a in art, except when followed by rr, as in parricide. E, i and y, before 
r final in a word or final in a syllable, followed in the next syllable by any 
other consonant than r, have the sound of e in her , or i in fir; fer'vet {fur- 
vet), hir cus (hur kus). Es at the end of a word is pronounced like the 
English word ease; Socrates ( sokratez ). Os, plural ending of Latin 
words, has the sound of ose in dose; dromos. Ae and oe are always 
diphthongs unless otherwise indicated. They are pronounced as e would 
be in the same position; JEneas ( eneas ). Au, when a diphthong, has 
the sound of o in or; Augustus. Ai, ei, oi and yi usually have the vowels 
sounded separately; Har py'ia. Ei, when a dipththong and not followed by 
another vowel, has the sound of i in like; ei do Ion. 

Eu, when a diphthong, is pronounced like u in use. The ending eus, 
characteristic of certain Greek names, is preferably pronounced as one 
syllable, the sound being like the English word use; although this ending 
is often pronounced in two syllables; Theseus (ms). 

Ua, ue, ui, uo, uu, when diphthongs, are pronounced like wa, we, etc. 
lingua ( lingwa ). 


231 


232 FESTIVAL AND CIVIC PLAYS 


CONSONANTS 

Consonants in general are pronounced as in English. The following 
cases may be noted, however: C, before e, i and y, and the diphthongs 
ae, oe, eu, is pronounced as s; Ce phis'sus ( sefis'us ) ; except c, ending or 
following an accented syllable,, before i, followed by a vowel, or before 
eu and yo, has the sound of sh; Phoenicia ( feni'sha ). 

C has the sound of k usually; Cato. 

G is pronounced like / before e, i and y and the diphthongs ce and oe; 
Ge'ry on; otherwise it has the hard sound, as in go; Gorgon es. 

Mn, initial, is pronounced as n; Mne sides. 

Ph is usually pronounced as f; Phasis (fa sis). 

S is usually pronounced like s in sun; Salamis ; except that si, fol¬ 
lowed by a vowel and immediately preceded by a consonant in an accented 
syllable, is pronounced shi; A cri'sius. Si and zi, followed by a vowel 
and immediately preceded by an accented vowel, are pronounced zhi; as 
sym po'sia (sim po'zliia). 

S final after e, ce au, b, m, n and r has the sound of z; Mars (marz ). 

T following an accented syllable and preceding an i followed by another 
vowel, sounds like sh. Portia (por sha). But t in such positions retains 
its sound of t as in tin, after s, t ox x; Sal lus'ti us. 

X initial has the sound of z; Xan thippe (zan thip pe). X final in a 
syllable followed by an i followed by another vowel, has the sound of ks , 
as in axis. 


A ca de'mus, donor of Academy 
garden 

a cad'e my, garden of philosophers 
A cri'sius, grandfather of Perseus, 
King, of Argos 

A crop'o lis, fortified height, site of 
famous buildings of Athens 
JE!e tes, King of Colchis 
^E'geus; M. ge'us, King of Athens 
yEne'as, Trojan hero 
^'qui ans, ancient Latin tribe 
^Es' chy lus, Greek poet 
^E'son, King of Troezen 
^ith'ra, Princess of Troezen 
Ag'o ra, market-place 
Ag'or a cri'tus, pupil of Phidias 
Ai-dos, modesty, reverence, honor 
A lan'i, ancient Teuton tribe 
Alba Longa, oldest city of Italy 
Ale me'ne, mother of Heracles 
Algi'dus, Mount, mountain range 
near Rome 

A1 i mann'i, ancient Teuton tribe 


Alphe'us (alfe'us), river in the 
Peloponnesus 

Am'ycus, King of Bebrycia 
An ax e re te, beloved by Iphis 
An drom'e da, victim of sea monster 
A pel'la, Spartan council 
A pol'lo, sun god 

Ar ach'ne, Greek maiden, famous 
weaver 

Ar cad'i a, Greek state 
Ar chi la'us, Spartan king 
Ar'chon, Greek magistrate 
Ar e op'a gus, council rock of 
Athens 

Ar'go, ship of the Argonauts 
Ar'gon auts, adventurers of the 
Argo 

Ar i ad'ne, daughter of Minos 
A ris'toi, Greek aristocrat 
Ar'temis, goddess of the chase 
Ar'val priests, ancient Latin broth¬ 
erhood devoted to agriculture 


VOCABULARY 


233 


A the'ne, goddess of wisdom, pa¬ 
tron goddess of Athens 
A'thens, capital of Greek state 
At a lan'ta, fleet Greek huntress 
At'las, mythical giant supporting 
the globe, brother of Prometheus 
At'ta lus, King of Pergamus 
At'ti ca, Greek state, of which 
Athens was the capital 
Au ge'an stables, stables of King 
Augeas of Elis, cleansed by Her¬ 
acles 

au'gur, sooth sayer 
Au gus'tus, the first Roman em¬ 
peror 

Bau'cis, good wife of Philemon 
Be bry'cians, primitive people of 
Bithynia 

Be'ma (rock) of the Pnyx (hill) ; 

popular Athenian meeting place 
Bo ad i ce'a, Queen of the Britons 
Bceo'tia (sha), Greek state 
Bo'na De'a, good Roman goddess 
Bri gan'tes, a tribe of Britons 
Bri tan'ni a Ro man'a, Roman Brit¬ 
ain 

Bru'tus, Lu'cius Jun'ius, first Ro¬ 
man consul 

Cae'sar, Jul'i us, Roman general 
Cal li'cra tes, architect of the Par¬ 
thenon 

Cal y don'i an hunt, famous hunt in 
the yEolian mountains 
Ca mil'lus, Roman general 
Cam'pus Mar'tius (shus), field of 
Mars 

Car ac'ta cus, Briton prince 
Car tis man'du a, Queen of the 
Britons 

Cas wal'lon, Briton general 
cath e'dra, official chair or throne 
Ca'to, Roman philosopher and pa¬ 
triot 

Cau'ca sus, Mount, mountain chain 
of Asia on the Black Sea 
cen'taur, mythical horse-man 
Cephis'sus (sefis'us), river flow¬ 
ing past Athens 
Cerami'cus, potters’ quarters 


Cer cy'on, King of Eleusis, boast¬ 
ful wrestler 

Cer'tes, Atalanta contestant 
Chi'ron, centaur schoolmaster 
chi'ton, loose tunic 
chla'mys, men’s cloak 
Cic'e ro, Roman orator and writer 
Ci'mon, Athenian general and ruler 
Cin'cinnatus, Lu'cius Quinc'tius, Ro¬ 
man dictator 

Clau'di us, Roman emperor 
Clce'li a, Roman girl hostage 
Col'chis, country of Asia 
Col la tin'us, Tar quin'i us, second 
Roman consul 
Collo'tes, pupil of Phidias 
Con'stan tine, The Great, Christian 
emperor of Rome 
con'sul, Roman official 
Cor i o'li, Volscian town 
Coriolan'us, Mar'cius (shus), Ro¬ 
man patrician youth 
Cor ne'li a, mother of the Gracchi 
Cor'pus ju'ris civil'is, body of civil 
law 

Council Rock, the Acropolis of 
Athens 

Crete (kret), island in the yEgean 
sea 

Da mon'i des, Atalanta contestant 
Dan'a e, daughter of Acrisius 
de cath'lon, series of games 
de cem'vir ate, Roman council of ten 
de cem'vir, member of decemvirate 
Del'phi, home of celebrated oracle 
de'mos, democrat 

de-nar'i i, plural of denarius, Ro¬ 
man coin 

di al'us, double course foot race 
dic'ta tor, Roman emergency ruler 
Dic'tys, uncle of Perseus and 
brother of Polydectes 
di'plois, woman’s wrap 
dis'cus, metal disc for throwing 
Di on y'si us, Tyrant of Syracuse 
dom'in a, lady 
Dor o the'us, Roman jurist 
Dra'co, early Greek law maker 
Dro'mos of Spar'ta, famous gym¬ 
nastic field and race track 


234 


FESTIVAL AND CIVIC PLAYS 


Dru'id, ancient Briton priest 
Dru'sus, plebeian tribune 
E leu'sis, coast town of Attica 
El'gin marbles, marbles excavated 
by Lord Elgin on the Acropolis 
em me le'ia, sacred dance 
eph e'bos, youth attaining majority 
e'phor, Spartan overseer 
Ep ic te'tes, Greek artist 
Epime'theus; Epime'theus, 
brother of Prometheus 
Etrus'can, from Etruria 
E trur'i a, country in Italy, now 
Tuscany and part oj Umbria 
Eurys'theus; Eu rys'the us, uncle 
of Heracles 

E van'ge lus, secretary to Pericles 
Fa ler'i i, Etruscan town 
faun, Latin deity of fields and herds 
fo'rum, Roman public meeting place 
Forum Tra ja'num, forum built by 
Emperor Trajan 
Francs, ancient tribe of Gaul 
Gai'us, Roman jurist, author of 
treatise 

Game of Troy, equestrian game 
Gan'y mede, cup bearer to the gods 
Ge'ry on, mythological monster 
Glau'con, pupil of Socrates 
Golden Apples of Hes per'i des 
Golden Fleece of the winged ram, 
gift of Hermes 
Gor gon'es, see Grae'ae 
Goths, north German tribe 
Grac'chi, famous Roman brothers 
Grac'chus, Sem pron'i us, father of 
the Gracchi 

Grae'ae, Three, three fates, daugh¬ 
ters of Phorcys 

Greg'ory, author of Roman (Gre¬ 
gorian) code 

gym nas'tai, Greek gymnastic teach¬ 
ers 

gym na si ar'chus, judge of games 
gym no ped'ic dance, gymnastic 
dance 

Ha'dri an, ‘ ‘Good Emperor’ ’ of 
Rome 

Har'most, Spartan governor 
har'pies, robber birds 


Hel'las, Greece, ancient name of 
Hel'lenes (lenz), Greeks 
Hel'les pont, strait between /Egean 
and Black seas 
He'lots, Spartan slave class 
He phaes'ti on, friend of Alexander 
the Great 

He'ra, Queen of the gods (Roman 
Juno) 

Her'a cles, (Roman Hercules) fa¬ 
mous demigod 

Her'mes, messenger of the gods 
Hermog'enes (moj), Greek rheto¬ 
rician 

Hes per'i des, mythical gardens near 
Mount Atlas 

Hip po'ly te, Queen of the Amazons 
Hippom'enes, judge of Atalanta’s 
race 

Ho'mer, blind Greek poet 
hy'dra, nine-headed monster 
Ic'ti-nus, architect of the Parthe¬ 
non 

I ol'cus, ancient town of Thessaly 
I on'i a, Greek state 
I on'i an, from Ionia 
I'phis, hero of story of Ovid’s Meta - 
morphoses 

i'ren, Spartan boy leader 
Is'thmi'an (is'mi an) Games, games 
held at Corinth 

Ja'son, legendary Prince of Thes¬ 
saly 

Jo an'nes, Greek jurist 
Jove, Roman name for Zeus 
Justin'ian, Roman Emperor at 
Constantinople 

La'by rinth, built by Daedalus for 
Minos, King of Crete 
La con'i a, ancient name for Sparta 
La oc'o on, priest, with sons, de¬ 
stroyed by serpents 
Lars Por'se na, Etruscan governor 
La'tin, pertaining to Latium 
La'tium (shum), a country of an¬ 
cient Italy 

Li cin'i an Laws, land laws of 
Rome 

Li cin'i us, author of Licinian Laws 
lic'tor, Roman public officer 


VOCABULARY 


235 


Lycur'gus, Spartan law maker 
Lyn'ce us, pilot of the Argo 
Mar'a thon, village of Attica, in 
Greece; race commemorating vic¬ 
tory over Persians 
Mar'cus Au re'li us, Roman Em¬ 
peror, philosopher 
Mars Field, military field of Rome 
Mar'tial (shal), Roman poet 
Mar'cius (shus) Co ri o lan'us, Ro¬ 
man patriot 

Me de'a, bride of Jason from Col¬ 
chis, later witch woman 
Me du'sa, one of the Gorgones 
Meg'a ra, capital of Greek district 
Mem phit'ic dance, ceremonial 
dance 

mime (mlm), mimic, burlesque 
min'o taur, Cretan monster 
Mi'nos, King of Crete 
Mi nu'ci us (Mi nu shi us), Roman 
consul 

Mne'si cles, Greek architect 
Neme'an Games, games held in Ar- 
golis 

Nem'e sis, goddess of fate 
Ni'o be, mother of children de- 
troyed by gods 
Nu'ma, ancient Latin King 
nu'mi, plural of numus, ancient Ro¬ 
man coin 

nymph, nature spirit 
0 ce'an us, god of the seas 
0 de'um, hall of music at Athens 
O lym'pi a, plain in Elis 
0 lym'pi ad, quadrennial Greek fes¬ 
tival 

0 lym'pi an, pertaining to Olympus 
0 lym'pus, Mount, mountain range, 
home of the gods 
or'a cle, revelation, prophecy, place 
or medium of same 
Or'pheus (fus) ; Or'phe us, myth¬ 
ical musician before the time of 
Homer 

Ov'id, Latin poet 

pal'la, Roman woman’s cloak 

pa laes'tra, gymnastic school 


Pal'las, sons of, rival Princes of 
Athens 

Pal'las A the'ne, see Athene 
Pan a then a'ic festival, important 
Athenian festival 

pan cra'tium (pancrashium), rough 
and tumble wrestling 
pan'dex, a digest of Roman law 
Par'the non, famous temple of the 
Acropolis 

patois' (pa twa'), French for dia¬ 
lect ; brogue 

pa.tri'cian, Roman aristocrat 
Pe'li as, King of Iolcus 
Pel o pon ne'sus, peninsula of 
Greece 

pen tath'lon, athletic contest 
Per'ga mus, country of Asia Minor 
Per'i cles, Greek statesman 
Per'seus (sus) ; Per'se us, Argive 
hero 

Pha'sis, river in Colchis 
Phid'i as, Greek sculptor 
Phi le'mon, pious Phrygian 
Phin'e us, legendary blind king of 
Thrace 

Phceni'cia (sha), a country in Syria 
Phoe ni'cians (shans), inhabitants 

of Phoenicia 

Phrix'us, uncle of Jason 
Phry'gi a (frijia), Greek colony 
in Asia Minor 

“Pi' e tas, grav'i tas, ver'i tas” 
dutifulness, dignity, truth 
Pin'dar, distinguished Greek poet 
Pi rae'us, harbor of Athens 
Pi sis'tra tus, Tyrant of Athens 
Pit'theus; Pit'theus, King of Troe- 
zen 

Pla'to, philosopher, pupil of Socra¬ 
tes 

Pie be'ians, common people of Rome 
Pli'ny, the younger, Roman author 
and orator 

Plo ti'na, Pom pe'ia, wife of Tra¬ 
jan 

Pol y dec'tes, King of Island of 
Seraphus, where chest containing 
Danae and Perseus landed 


236 


FESTIVAL AND CIVIC PLAYS 


Po le mar'chus, pupil of Socrates 
Po mo'na, nymph of garden fruits 
Pon'tus Eux i'nus, Black Sea 
Pro crus'tes the Stretcher, robber 
who tortured his victims 
Pro me'theus (thus) ; Pro me'the us, 
Titan son of Zeus 
Pro py le'a, entrance to Acropolis 
Pub li co'la, Val er'i us, third Ro¬ 
man consul 

Py thag'or as, early Greek philoso¬ 
pher 

Py thag'or e'ans, Society of 
Pyth'i an Games, games at Delphi 
Pyth'i as, see Damon 
quaes'tor (kwes), Roman official 
Rom u'lus, Prince of ancient La- 
tium, and Re'mus, twin brothers, 
founders of Rome 
Sa'bines, primitive people of central 
Italy 

Sal'a mis, Island of, off coast of 
Attica, scene of famous Greek 
victory 

Sa'turn, god of seed sowing 
sat'yr, a sylvan deity 
Scip'i o Af ri ca'nus, father of Cor¬ 
nelia, Roman general 
Sci'ron, frontier outlaw of Attica 
and Megara 

Si'byl, Cumae'an, prophetess 
Si'byl line books, prophetic books 
Sil va'nus, protector of herds 
Si mon'i des, early Greek poet 
Sin'is, notorious robber 
si'ren, sea nymph 

Soc'ra tes, famous Greek philoso¬ 
pher 

So'lon, Greek legislator 
Spar'ta, Greek state, capital of La¬ 
conia 

sto'la, Roman woman’s dress 
strig'il, skin scraper 
sty'lus, steel pencil 


Stym phal'i des, brazen man-eating 
birds 

sym po'sia, plural of symposium, 
meeting for discussion 
Syr'a cuse (kuz), Greek colony, is¬ 
land in the TEgean sea 
syr'inx, musical pipes 
Thebes (thebz), chief city of Bceo- 
tia, Greek state 

Theodo'sius (shus) II, Emperor of 
the East; compiler of code of 
laws 

Theoph'ilus (of'), Roman jurist 
The'seus (sus) ; The'se us, Prince of 
Athens 

Thrace, northern Greek state 
Thra sy ma'chus, young sophist 
Ti'phys, steersman of the Argo 
Ti'tans, giant race 
Tra'jan, “Good” Roman Emperor 
Tri bon'i an, compiler of Justinian 
code of laws 

trib'une, a tribal magistrate of 
Rome 

tri'dent, a three-pronged spear 
Tri'umph, triumphal procession 
Troe'zen, capital of Argolis 
Tro'jan, related to Troy in Asia 
Minor 

Tus'cu lum, mountain town near 
Rome 

UTpi an, distinguished Roman ju¬ 
rist 

Um'bri ans, primitive Latin tribe 
Van'dals, German confederacy 
Ven di'ci us, slave to Publicola 
Ve'nus, Roman goddess (Greek 
Aphrodite) 

Ver tum'nus, god of the seasons 
Vi'a, Roman street 
Vul'can, god of fire, hammer god 
Xan thip'pe, shrewish wife of Soc¬ 
rates 

Xen'o cles, Greek architect 
Zeus, father of the gods 


BIBLIOGRAPHY 


Source Book of the History of Education for the Greek and Roman Pe¬ 
riod. Paul Monroe 
Plutarch’s Lives of Illustrious Men. 

Source Book of Roman History. Dana Carleton Munro 

Private Life of the Romans. Preston and Dodge 

Plato’s Republic. Jowett and Campbell 

Athens and Its Monuments. Charles Heald Weller 

Ruins and Excavations of Ancient Rome. R. Lanciani 

A Manual of Greek Antiquities. Gardner and .Jevons 

Ancient Times; a history of the early world. James Henry Breasted 

Greece in the Age of Pericles. Arthur J. Grant 

Old Greek Life. J. P. Mahaffy 

Life of the Greeks and Romans. Guhl and Kohner 

Life of the Greeks and Romans. T. G. Tucker 

Primer of Greek Literature (Greek Theater). R. C. Jebb 

Roman Antiquities. A. S. Wilkins 

Greek Athletic Sports and Festivals. E. N. Gardiner 

A Day in Ancient Rome. E. S. Shumway 

Age of Fable. Thomas Bulfinch 

Classical Myths. Charles Mills Gailey 

Tanglewood Tales. Nathaniel Hawthorne 

Jason and the Golden Fleece. Padriac Column 

Promethesus Chained (^Eschylus). Translated by Robert Potter 

A Child’s History of England. Charles Dickens 

The Light Bearers: Stories of Old Greece. Aldis Dunbar 

The Story of Mankind. Hendrik W. Van Loon 

The Old Drama and the New. William Archer 

The Portmanteau Plays. Stuart Walker 

A Smaller Classical Dictionary (Everyman’s Library). E. H. Blakeney 
Education of the Greek People. William Davidson 
History of Greece (Everyman’s Library). George Grote 


GREEK MUSIC 

Greek Festival Series. Clayton F. Summy Co., Chicago 

Pindar’s Ode. Chorus and Dance 

Ode to Apollo. Choral Dance 

Hymn to Apollo. Solo—Chorus and Processional 

Greek and Roman Exercises to Music 

Greek Ball Play. Music and Dance 


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